Asters, Renaissance Italian 


ae Vi 18es and 


CALIFORNIA PALACE OF THE LEGION OF HONOR 
LINCOLN PARK 


SAN FRANCISCO, CALIFORNIA 


CATALOGUE 


OF A 


Group of Old Masters, Renaissance Itahan 
Furniture, Majolica Vases and 
Other -Art Objects 


FROM THE COLLECTION OF CARL W. HAMILTON 
NEW YORK 


GALLERY 19 


SEPTEMBER I, 1927 TO JANUARY 6, 1928 


(AONVALNA LNOYA AO MAIA) AONOH AO NOIDAT AHL AO ADVIVd VINYOUITVO AHL 


“se: 


aeons 


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Acknowled gment 


ABZ 
A st 


O those in search of the beautiful and who have 

felweace a standard oi art the fine treasures of the 
great galleries of Europe, many pleasant surprises will be 
revealed upon visiting the important selected group of old 
masters, furniture, majolica vases, and other art objects now 
installed at the California Palace of the Legion of Honor 
which are lent by Mr. Carl W. Hamilton of New York, 
through the influence and efforts of Mr. Herbert Fleish- 
hacker, President of the Board of Trustees. It is felt certain 
Hiatemot,e only the artists, art lovers, and the public in 

general of San Francisco, but the travelers to and 

from the Orient and from all parts of the 
world will be deeply interested in this 


most: unusual exhibition. 


Board of Trustees of the (alifornia Palace 
of the Legion of Honor 


LINCOLN PARK, 
SAN FRANCISCO, CALIFORNIA 


PRESIDENT, HERBERT FLEISHHACKER 


M. EARL CUMMINGS PAUL SHOUP 
WALTER D. K. GIBSON ALMA DE BRETTEVILLE SPRECKELS 
WILLIAM F. HUMPHREY WILLIAM SPROULE 


GEORGE TOURNY 


EX OFFICIO 


MAyorR OF THE CITY AND COUNTY OF SAN FRANCISCO 
PRESIDENT OF THE BOARD OF PARK COMMISSIONERS 
DIRECTOR, CORNELIA B. SAGE QUINTON SECRETARY, W. M. STROTHER 


CURATOR, WILLIAM WARREN QUINTON ORGANIST, MARSHALL W. GISELMAN 


% 
¥, 
% 


THE CALIFORNIA PALACE OF THE LEGION OF HONOR 
IS OPEN EVERY DAY 
INCLUDING SUNDAYS AND HOLIDAYS 


FROM 10 O'CLOCK A. M. TO 5 O’CLOCK P. M. 


Sketch of the 
(California ‘Palace of the Legion of Honor 


LINCOLN PARK, SAN FRANCISCO 


¥, 
t 

¥, 
LAG 


The California Palace of the Legion of Honor is placed at the summit of one 
of the hills overlooking that “Golden Gate” which opens the immensities of the 
Pacific to the voyager leaving San Francisco. 


This Museum was presented to the City by the late Adolph B. Spreckels and 
his wife, Alma de Bretteville Spreckels, in memory of the California soldiers who 
fell in the Great War. It is intended to honor the dead while serving the living. 
Erected on ground offered by the San Francisco Municipality, its glorious lines rise 
in the magnificent frame of Lincoln Park. 


The style of the California Palace of the Legion of Honor is French 
Renaissance of the period of Louis XVI, which lends itself well to the quiet, digni- 
fied treatment necessary for museums. Behind the Triumphal Arch, which is 
surrounded by colonnades, and which constitutes the entrance to the Palace, extends 
a spacious Court of Honor, surrounded by Ionic columns prolonging those of the 
facade. The Rotunda is the point of departure of the long galleries, destined for 
the exhibition of tapestries, paintings, sculptures, engravings, prints, and other 
works of art. Constructed of stone and steel, under the direction of the American 
architect, George Adrian Applegarth, a native of California, the Museum is 
equipped with a perfect lighting system permitting of visits both by day and by 
night. 


On the main floor there are nineteen galleries for painting, sculpture, and all 
works of art, which include the Tapestry Hall and the two Garden Courts, where 
fountains, semitropical flowers and plants are placed, and where one may rest while 
making the circuit of the Museum. On the terrace floor are the offices, library, tea 
room, studios, and theater. 


Another magnificent feature of the Palace is the unique pipe organ installa- 
tion, which is the splendid gift of the late John D. Spreckels. The main instru- 
ment is placed over the vestibule, and the echo-organ at the opposite end of the 
building. In the Triumphal Arch is installed a full set of chimes and a fanfare of 
trumpets, which may be heard for several miles over the city and out at sea. 


The setting of the California Palace of the Legion of Honor is most dramatic 
and beautiful. There are few monuments in history which have had sites equal 
to this. The Taj Mahal has a very beautiful location, but not as dramatic. The 
Parthenon has a most commanding situation, but not as beautiful an approach. 
Many of the English cathedrals are finely placed, with spaces parked about them; 
but the French, Italian, and Spanish cathedrals are usually situated in the center 
of the cities with the habitations surrounding them, under their protection, as it were. 


The California Palace of the Legion of Honor stands in its majesty high on a 
hill. On one side far, far below lies the blue water of the Pacific. In the middle 
distance one sees the Golden Gate, and to the right San Francisco, shimmering in 
the sunlight, has the appearance of an Italian or a Spanish city. 


The above are only a few suggestions of some of the interesting features of 
the Palace, but it needs a visit to the building itself to tell the whole story. It is 
then that the thought and purpose of this great gift to San Francisco can be fully 
appreciated. 


CoRNELIA BENTLEY SAGE QUINTON, Director. 
WILLIAM WARREN QUINTON, Curator. 


‘Prefatory 


The Italian Renaissance was an epoch-making development in the world 
of art as well as an event of great importance in the history of human intellect. 
Architecture, sculpture, and painting all felt the new impulse, and flowered into 
masterpieces which had not been equalled since the days of classical Greece. This 
development was due especially to three causes: First, after centuries of conven- 
tionalized treatment of the human figure, artists again began to study nature 
itself, and to draw from the living model. In general, artists now endeavor to depict 
the real world of men and things about them, and no longer were satisfied with 
the stiff symbolical representations of the Middle Ages. In the second place, in 
addition to the study of nature they also became interested in the sculpture and 
other artistic remains of classical Greece and Rome. From this they gained new 
ideals of harmony, grace, and beauty, to modify the harsh realism to which their 
study of nature tended. Third, from antiquity and other sources, they learned 
better technical methods of execution. Among these were the discovery of the 
laws of perspective, which were now worked out in systematic form, and the 
process of painting in ols, which had been found by Flemish painters and possessed 
many advantages over the methods of painting hitherto used. 


The art of the Renaissance was not an imitation of classical models, for in 
Italy, as in the north and east of France, there was an initial Renaissance in 
the fourteenth century, which owed little, if anything, to antiquity. The Renaissance 
was, rather, the logical development of the great Gothic style, passing gradually 
to naturalism, from the art of the “imagiers” under St. Louis, to that of the 
portraitists of the time of Charles V. Gothic naturalism found its way into 
Italy, and awoke Italian realism, which had been slumbering for a century. But, 
whereas in France and Flanders naturalism was unbridled and soon degenerated 
into triviality, in Italy, due to the dawn of Humanism and the study of antique 
examples, it was chastened and disciplined, and learned to desire beauty even 
before expression. Thus the part played by antiquity was that of a teacher, not a 
mother; it regulated, but it did not create the Renaissance. 


This revival of the fine arts was closely related to the political and economic 
conditions of the country at that time. Just before this period, Italy had become 
disunited politically, and numerous vigorous and important cities and city states 
had arisen. The flourishing commerce and manufactures of these Italian cities, and 
of Florence especially, brought wealth and leisure to the great burgher families, 
avhich in turn enabled the citizens to take an interest in learning, art and literature 
and Italy soon became the intellectual and artistic center of Europe. The English 
writer Symonds says: “Florence was essentially the city of intelligence in modern 
times. Other nations have surpassed the Italians in their genius. But nowhere 
except at Athens has the whole population of a city been so permeated with ideas, 
so highly intellectual by nature, so keen in perception, so witty and so subtle, as at 
Florence. The fine and delicate spirit of the Italians existed in quintessence 
among the Florentines. And of this superiority not only they, but the inhabitants 
of Rome and Lombardy and Naples were conscious. The primacy of the Floren- 
tines in literature, the fine arts, law, scholarship, philosophy, and science was 
acknowledged throughout Italy.’ Among other important cities were Milan, 
Venice, Palermo, Perugia, and Sienna, the art of which was devoted to the Virgin. 
In each of these, there evolved a separate and distinct school of painting and the 
present collection gives abundant proof of the richness of the outflow of the talents 
of many of the Italian cities. 


The artists of this period produced paintings of great beauty and splendor. 
The subjects painted were largely drawn from mythological and religious sources; 
but the landscapes and costumes depicted were those of the artists’ own time and 
place, thus making their work of great value historically as well as for its artistic 
merit. The individualism of the Renaissance manifests itself in the painting of 
portraits of real persons, which was very little practiced in the Middle Ages, and 
even in the characters depicted in religious and classical scenes one often can 
recognize portraits of the artist himself, his patrons, and his friends. 


CORNELIA BENTLEY SAGE QUINTON, Director. 
WILLIAM WARREN QUINTON, Curator. 


NOTES AND OPINIONS 


Notes and opinions of American and European connoisseurs on some 


of the outstanding examples in the collection here represented: 


American Art News, date June 12, 1926, on Discovery of Dominicho Vene- 


Dr. 


ziano Panels from Predella of his famous altar-piece in the Uffizi 
Gallery,—“The last discovered panel, that in the Hamilton collection, 


is perhaps the most romantic of the scenes. The space spreads gently 


about the figure of the young Baptist, who stands in luminous solitude 
among the sharp-edged rocks. . . One of the art events of the year.” 


Ricardo Ricci says: San Roch by Francia is “the touchstone of his 
art from which all his other work must be judged.” 


Berenson, on the Piero della Francesca “Crucifixion,” autographed, says: 


“IT have never seen anything grander in conception and more exquisitely 
painted. In my eyes and in my taste it is an absolutely perfect work 
Seer ee Fiero is, tor anyItalian singularly like Van Eyck, but 
very much greater still. . . The “Crucifixion” is noble and intellectual 
and at the same time as resplendent as a jewel. . . It stands com- 
parison with the best of his I have seen in fresco and far surpasses 
Siyiiseetiepanc!) . « Although of smatl.sizé it is large in scale 
and produces nearly the same impression as’ his famous frescoes at 
Arezzo. What differences there are, are rather in favour of the 


/O@rucinxion, ~~. That great master never drew better and, to my 
knowledge considering the present state of his paintings, never colored 
fomweinee we la brief | have seldom beén aroused by a work of art 


ase ai by this one.” 


Protessor Richard Offner, on the “Crucifixion” by Piero della Francesca, 


Cialis Castagno was one of the greatest masters of form the 
world has ever known, the genius of Piero della Francesca who painted 
the “Crucifixion” was completer, profounder and more temperate. 
Piero’s genius is perfectly harmonized and lucid. The greatest 
mathematician of his day, his work is eminently clear; only that with 
Piero clarity, which is an intellectual attribute, becomes an aesthetic 
value. He avoids violent expression because he would rather reveal 
through the acquiescent consciousness of his figures and his wide 
landscapes the deeper action of primal force.” 


Berenson on Beatrice d’Este by Bernardino de’ Conti: “She has been held 


as a work of Leonardo’s own hand, but in my opinion was painted 
by his well-known follower, Bernardino de’ Conti who was_ probably 
the author of the altar-piece in the Brera at Milan. The work 
exercises an immense fascination upon many people, and of course, 
historically, is most interesting, the sitter being so famous in the 
court annals of the Italian Renaissance.” 


Berenson on Fra Filippo—‘‘Madonna and Child,” autographed, says: “One 


wishes that, like Bellini, Fra Filippo had painted more such _ tender, 
thoughtful madonnas, and of such delightful color. Unhappily, they 
are rare, scarcely half a dozen are at all equal to this one.” 


The following authors on furniture have been quoted: 


“The History of Italian Furniture’ two volumes by William M. Odom. 
“Ttalian Furniture and Interiors,’ by George Leland Hunter. 

“Purniture and Decorations of the Italian Renaissance,’ by Frieda 
Schottmuller. 

“Decorative Furniture,’ by George Leland Hunter. 


No. 1. BEATRICE D’ESTE By BERNARDINO DE’ CONTI. 


CATALOGUE 


1. BEATRICE D’ESTE. By BERNARDINO DE’ CONTI (1450-1525). 
Milanese School. An Italian Work of Art of the late XV Century. 
From the collections of Signor Giovanni Barbi-Conti, Ferrara, and 
of Prof. Caval. Galdino Gardini. 


She is seen at three-quarter length, framed in a long oval, facing full- 
front with the head turned slightly toward the left; dark brown eyes look- 
ing at the observer. Her hair, which is black, is worn in the prevailing 
Milanese fashion of her day—a mass of close waves on either side of her 
head from a center parting and falling behind her shoulders, Encircling 
her head is a slender gold fillet. She is dressed in a white chemisette, 
adorned with grey bow-knots and narrow wavy ribbons, over which is a 
gold brocade robe, cut low at the bosom, with black velvet insertions in the 
form of narrow perpendicular panels, giving the dress a striped appear- 
ance; the sleeves are puffed with white lawn and tied with small bow- 
knots; her shoulders and throat are bare. Over her arms is a voluminous 
white silk mantle, and evidently continued behind her waist. Her hands, 
within soit gray closely fitting gloves, are held before her—the right at 
her waist, touching a buckle, upon which is inscribed her name, BEATRICIA, 
and the left, in which she holds a small medal, slightly below it. Back- 
ed of blue sky, above a distant undulating landscape, with hilltowns, lakes 
and trees. 


A panel: Height, 30 inches; Width, 25 inches. 


Beatrice d’Este (1475-1497), Duchess of Milan, one of the most beautiful 
and accomplished women of the Italian Renaissance, was betrothed at the 
age of five to Lodovico Sforza (known as il Moro), Duke of Bari, regent and 
afterwards Duke of Milan, and was married to him in January, 1491. She 
had been carefully educated and availed herself of her position as mistress 
of one of the most splendid courts of Italy to surround herself with learned 
men, poets and artists, such as Niccola da Correggio, Bernardo Castiglione, 
Branmante, and many others. In 1492 she visited Venice as ambassador 
for her husband in his political schemes, which consisted chiefly of a desire to 
be recognized as Duke of Milan. On the death of Gian Galeazzo Sforza, 
Lodovico’s usurpation was legalized, and after the battle of Fornovo (1495), 
both he and his wife took part in the peace congress of Vercelli between 
Charles VIII, of France, and the Italian princess, at which Beatrice showed 
great political ability. But her brilliant career was cut short by death 
through childbirth, on the 3rd of January, 1497. She belongs to the best 
class of Renaissance women, and was one of the cultural influences of the 
age. To her patronage and good taste are due, to a great extent, the splendor 
of the Costello of Milan, of the Certosa of Pavia and of many other famous 
buildings in Lombardy. 

Bernardino de’ Conti, it is assumed, was a follower of Zenale, of whose 
life no record has been kept, but it has been stated that he died at Pavia 
in 1525 at the age of seventy-five.t A profile bust of a prelate in the Berlin 
Museum bears his name and date (1498); it is a somewhat somber panel 
with flesh shadows of an earthy tinge. In the same gallery is a portrait 
of MARGHARITA GALLEONE, and in the Vatican is a panel representing 
Francesco, the son of Gian Galcazzo Sforza, with long flaxen hair, and 
dressed in a quilted coat, painted in 1496. Of similar technical treatment, and 
reminiscent alike of the schools of Zenale and Gian’ Pedrini, is a MADONNA 
AT SCHLEISSHEIM, known as a Garofalo, and has suffered from flaying ; it 
is the original of a replica of feeble character in the Lochis Gallery at Ber- 
gamo. These are signed and dated works of his between 14.96 ead et Olen LT 
these, he shows himself clearly under the influence of Leonardo, and whatever 
little individuality he possessed, appears in his portraits. 


2. SEVENTEENTH CENTURY YELLOW DAMASK. 


1 Carotti,-in L’Arte, III, 307. 


11 


THE CAROL W..). BAUM 1 Lit ON CO Lar EGah ious 


3. SIXTEENTH CENTURY FLORENTINE INLAID WALNUT CASSONE. 


Rectangular shape; domed and molded hinged lid secured by a con- 
temporary iron lock and molded base; lid, front, sides and plinth inlaid 
with lighter wood; the front and sides with panels, occupied by putti 
holding wreaths enclosing coat-of-arms, the lid with arms of the Counts 
Bargaglo-Petrucci, and the plinth with an acanthus-leaf spiral. 


4. SIXTEENTH CENTURY PAIR OF ITALIAN BRONZE CANDLE- 
STICKS. 


Composed of turned baluster-shaped shafts of superimposed bobbin 
design, supported upon wide spreading molded bases, and terminating in 
wide spreading molded cup-shaped piatelli or sconces with pricket candle- 
holders. 


Height, 11% inches. 
5. ITALIAN WOODEN BOX OF THE SIXTEENTH CENTURY. 


6. FIFTEENTH CENTURY PAIR OF VENETIAN GOTHIC WROUGHT- 
IRON TORCIERI. 


Both identical in shape, composed of slender cylindrical standards, 
spirally twisted in the center, surmounted by flat-iron crown-shaped piatelli, 
or sconces, attached to which are four boccinoli, or candle-sockets applied’ 
to the outer rims around a central socket, beneath being large strap-iron 
rings supported by three short trefoil brackets above, and three longer 
ones below. The legs are composed of three cylindrical iron curves developing 
at the center into trefoils and ending in flattened feet. 


7. A FRANCISCAN MONK. By JOSEF DE RIBERA (1588-1656). 
A Spanish Work of the XVII Century. 


A bust portrait of an ecclesiastic, probably about fifty years of age, 
seen at almost full face, the left side in shadow, with the body turned 
toward the right. He is dressed in the dark brown habit of a friar, with 
cloak and hood, the former being turned back at the arms while he is in 
the act of writing—a pen being in the right hand and a creased sheet of 
paper in the left. The face bears a dignified and ascetic expression, with 
a certain animation playing upon the lightly closed lips and vivacious eyes. 
The features are well modelled and interesting, with indications of warts 
on the left cheek. A skull-cap is just visible. The background is dark. 


On canvas. Height, 29% inches; Width, 25 inches. 


Josef or Jusepe de Ribera, called Lo Spagnoletto. Born at Xativa, near 
Valencia, January 12th, 1588; died at Naples, 1656; son of Luiz Ribera. 


The parents of this celebrated painter were poor, and yet destined him 
to enter one of the learned professions. They sent him to the University of 
Valencia, but he preferred the School of Francisco de Ribalta, the painter, 
to those of the University. He must have made very rapid progress in 
painting, for he was so young when he arrived at Rome that he was known 
among his fellow students as LO SPAGNOLETTO (the little Spaniard), and 
had at first to depend for a livelihood upon their assistance. Despite all 
difficulties, he pursued his studies with unfailing energy. The works of 
Raphael and Annibale Carracci, and those of Correggio at Parma were in 
succession the models from which he endeavored to improve his work. When 
he returned to Rome, the strong, if exaggerated, style of Caravaggio was 
so much in fashion that de Ribera was obliged to adopt it to some extent (if 


1 Illustrated in ‘Decorative Furniture,” p. 127; “Italian Furniture and Interiors” plates 
25 and 147; ‘“‘History of Italian Furniture’? by Odom, p. 75; ‘“‘Furniture and Decoration of the 
Italian Renaissance,” p. 17. 


12 


< 


ive bee CoAsR Lae Veo ACM Ih lO8N = (CO t.E.G Ll OoN 


he did not study under that master), and, when he afterwards removed to 
Naples, to choose those terrible subjects which were most admired by his 
countrymen. There he married the daughter of a rich picture-dealer, and 
found powerful patrons in the Viceroy, the Duke of Ossuna, and his suc- 
cessors. 


Many of Ribera’s pictures were sent to Spain. Even now, when they 
have been dispersed all over Europe, there are about sixty in the Museum of 
Madrid, and it is there that the correctness of his drawing and richness of 
his colouring may be duly appreciated. It is impossible to determine now 
what share he had in the doings of the Cabal of Naples, which used every 
means to drive other artists from that place; but the strength of it appears 
to have ceased with the death of Caracciolo in 1641, although Ribera did 
not die until 1656. It must not be forgotten also that Ribera was elected 
a member of the Academy of St. Luke at Rome in 1630, and received Velas- 
quez in a friendly manner when the latter visited Naples in that year. Ribera 
was decorated by the Pope in 1644 with the order of the ABITO DI 
CRISTO. Moreover, it is certain that Ribera died rich and honoured at Na- 
ples, and that the story of his only daughter’s having left him is not true, as 
he had five children, two of them girls, one of whom married Don Tomasso 
Manzano, who held an appointment in the War Office. Maria Rosa, the elder 
daughter, painted and sat occasionally to her father as a model. 


8 SIXTEENTH CENTURY ITALIAN WALNUT “DANTE” CHAIR. 


Curved arms, supports and legs, with turned rosettes at the inter- 
section and scrolled arms; seat and. back in old red velvet with red silk 
fringe and velvet-covered cushion.+ 


9. THE MADONNA AND CHILD, WITH AN ANGEL AND ST. JOHN. 
By SANDRO BOTTICELLI (1447-1510). A Florentine Work of 
Pio! tie wate XV Century. ae 


In the center of this tondo, which is painted in Botticelli’s third man- 
ner, the Virgin sits with her back to a pedestal-like wall of stone. She 


leans her head on one side with an inexpressibly sorrowful air of fore-, 


boding in her beautiful face and presses to her right cheek the curly head 
of the Divine Child, who looks upward to His Mother with a look of loving 
commiseration on His baby face. He is dressed in a simple garment fas- 


tened under his right shoulder and doubly girdled around him by a ribbon. | 


Om the Virgins left and the spectator’s right stands an infant, St. John 
the Baptist, clad in the traditional garment of skin and holding in his 
left hand a label to which with the right he directs attention. It bears 
the inscription in Roman lettering: ECCE AGNUS DEI (Behold the Lamb 
of God). On the picture’s left is a typical Botticellian boy angel, with 
long, wavy hair falling over his shoulders, dressed in a loosely gathered robe 
and holding an Easter lily, which he seems to present to the Mother and 
Child. On either side of the background are presented glimpses of a 
delightful landscape. 


On panel. Diameter, 30% inches. 


Alessandro Filipepi, better known as Sandro Botticelli, the youngest son 
of Mariano Filipepi, a Florentine tanner, was born at Florence in 1447, or 
somewhat earlier. He was apprenticed in his youth to a goldsmith, but 
he soon abandoned this art and devoted himself to painting, which he studied 
first under Fra Filippo Lippi and afterwards under the brothers Pollaiuoli. 
Among his earlier works are an allegorical figure of FORTITUDE, origin- 
ally in the Mercatanzia2; a ST. SEBASTIANS, which he painted to the order 
of Lorenzo dei Medici in 1473 for the Church of Sta. Maria Maggiore at Flor- 
ence; and a beautiful little picture of the MADONNA AND CHILD WITH 
AN ANGEL, formerly in the possession of Prince Chigi.* His first important 
work was an ADORATION OF THE MAGI, painted about the year 1476, 
in which he seems to have emulated the style of Domenico Bigordi, called 
Ghirlandaio. This picture’ contains several portraits of the Medici family, 
the first Mage representing Cosimo, PATER PATRIAE; the second, Piero 


1 Illustrated in “Italian Furniture and Interiors’ by George Leland Hunter, plate 26. 
2 Now in the Uffizi at Florence. 

3 Now in the Berlin Gallery. 

4 Now in Mrs. Gardner’s Collection, Boston. : ee 

5 Formerly in the Church of Sta. Maria Novella, now in the Uffizi, Florence. 


1 


THE CC A RiLe ew HAM TD Lal OUN) COA TAR CCahomoOmed 


Cosimo’s elder son; and the third, Giovanni, his younger son. In 1478 
Sandro was commissioned by Lorenzo dei Medici to paint the effigies of the 
Pazzi conspirators on the walls of the Bargello, or Public Palace of Flor- 
ence. In 1480 he executed a fresco of ST. AUGUSTINE, in the Church of 
Ognissanti, a work of great power and depth of thought, and in the same 
year he painted the political allegory of PALLAS WITH A CENTAUR, a 
very beautiful picture which for many years was completely lost sight of and 
was discovered in the Pitti Palace in 1895. Botticelli was the favorite 
painter of Lorenzo the Magnificent, for whose sumptuous villas he painted 
the panel known as MARS AND VENUS?! as well as his great master- 
pieces of the ALLEGORY OF SPRING? and the BIRTH OF VENUS. These 
pictures, decorative in character and poetical in subject, were to a great 
extent inspired by the classical imagery of the poems of Lorenzo the Mag- 
nificent and Agnolo Poliziano. Between the years 1481 and 1483, Botticelli, 
called to Rome by Pope Sixtus IV, collaborated with Ghirlanraoi, Perugino, 
Pinturicchio and Cosimo Rosselli in the decoration of the Sistine Chapel. His 
work consisted of three frescoes representing (1) the PURIFICATION OF 
A LEPER with vignettes of the TEMPTATION OF CHRIST2; SCENES 
FROM THE LIFE OF MOSES’; THE PUNISHMEND FOR CORE 
DATHAN AND ABIRON, and Vasari says that it brought him great re- 
nown “beyond any of his collaborators.’’ On his return to Florence he exe- 
cuted commissions for some of the leading Florentine families, and about the 
year 1840 he painted for his friend, Antonio Segni, his famous picture of 
CALUMNY, in imitation of the lost masterpiece of the Greek painter 
Apelles, as described by Lucian. Among his religious pictures must be 
mentioned a large altar-piece of the MADONNA AND CHILD WITH 
ANGELS AND SAINTS* painted for the Convent of St. Barnaba, and a 
CORONATION OF THE VIRGIN'*, painted for the Guild of St. Marco. 
Sandro was the originator of the tondi, or circular pictures, of the MA- 
DONNA AND CHILD WITH ANGELS, the most beautiful of which is the 
masterpiece of the MAGNIFICAT®. These tondi became very popular and 
gave rise to a large number of imitative works by his scholars and followers, 
which, widely varying in merit, are now scattered through the galleries of 
Europe and, in some cases, have been mistakenly attributed to Sandro 
himself. Botticelli’s pictures are generally distinguished by a quaint grace 
of form combined with a profound melancholy of sentiment. His most 
distinctive qualities as a painter lie in his unique power of conveying the 
sense of light, swift movement, and in his genius for lineal design. Accord- 
ing to Vasari, he practiced engraving to a limited extent, but none of the 
engravings attributed to him have as yet been identified as his work. There 
is no doubt that he furnished designs to some of the engravers of the period, 
especially to Baccio Baldini. The latter’s copper-plate illustrations of the 
INFERNO (nineteen canti in all) in Landini’s edition of Dante, published in 
1481, were executed after Botticelli’s designs. Later on Sandro himself 
illustrated (in silver-point gone over with pen and ink) a manuscript of 
the DIVINA COMMEDIA for Lorenzo di Piero Francesco dei Medici, a 
work to which Vasari says he devoted considerable time and labor. This 
manuscript, from which several drawings are missing, was formerly in the col- 
lection of the Duke of Hamilton.? Eight of the missing drawings have since 
been discovered in the Vatican Library. Towards the end of his career, 
Botticelli fell under the influence of Savonarola, and the pictures of this 
period, although fewer in number and perhaps less masterly in execution, 
are far more devotional in feeling than the works of his youth and maturity. 
His last picture, and the only one he ever signed or dated, was the little 
NATIVITY® which is full of fervent, almost ecstatic religious feeling. In 
his old age he became, Vasari says, infirm and incapacitated; and during 
the last ten years of his life he appears to have entirely abandoned painting. 
He died May, 1510, at about the age of sixty-three and was buried in the 
church of Ognissanti at Florence. 


10. SIXTEENTH CENTURY TUSCAN CARVED WALNUT COFFER. 


Rectangular shape; sunken paneled and molded hinged lid; front divided 
by four pilasters with molded capitals and bases and paneled fronts carved 
with rinceaux of foliage springing from fluted vases, into three panels 
with guilloche and acanthus-leaf carved moldings; carving heightened with 
gilding; molded and carved paneled sides and molded base carved in a 


water-leaf patterning. 


Height, 1 foot 814 inches; Length, 6 feet 244 inches; Width, 1 foot 11 inches. 


1 National Gallery, London. 5 Academy at Florence. 

2 Academy at Florence. 6 Uffizi. 

3 Uffizi. 7 Berlin Museum. 

4 Academy at Florence. 8 National Gallery, London. 


14 


erie be CoAS Rel Wied Aare OUNe CO laleE Ge lOuN 


11. SIXTEENTH CENTURY FAENZA WARE (CASA _ PIROTA) 
MAJOLICA JUG OR BROCCA. 


Peeiateo jue, Of ovoid form, shaped at the top to form a neck and 
spout, and spreading slightly at the foot to form a base; a stout handle 
is affixed to the neck and body. The ground is of blue enamel upon which 
three large enwreathed circular medailions are equally placed, the inter- 
vening spaces being filled with candelliere pattern of foliated grotesques 
and cherubs in white enamel, the neck and base being decorated with an 
endless acanthus scroll. The medallions consist of: on the left, the bust 
of Elisha the Prophet (Elises), with white beard, wearing a turban-like 
head-dress and green and yellow robe and reading from a large book 
opened before him; at the center, the figure of a youth in yellow mantle 
and brown hose seated upon a mound playing a viol, blue landscape and 
castles in the background; on the right, the bust of a man in green and 
yellow robe and dark blue cap, represented as playing a mandolin. Below 
each medallion is a ribbon bearing the date 1536. 


Height, 1234 inches. 


Poole COmLECTIION OF J. PIERPONT MORGAN. 
Exhibited at the Metropolitan Museum of Art, New York, 1913-1916.1 


12. SIXTEENTH CENTURY FLORENTINE WALNUT “SAVONAROLA” 
CHAIR.? 


Having curved sides and legs formed of square interlacing supports 
with slat seats, pivoted for the purpose of folding. Has twelve interlacing 
supports, square straight arms terminating in knobs and rings, and shaped 
back carved. with the coat-of-arms, within a circle, of the Vitelli Family, 
and base-rails ending in lions’ paws. 


Height, 41% inches. 
13. THE MADONNA AND CHILD WITH ST. MARY MAGDALENE 


AND ST. JEROME. By GIULIO FRANCIA (1487-1540). A 
Proloencece VWork of Art of the Early XVI Century. £4, , fr 


Seated in the center of the picture is the Virgin, with plainly smoothed - 


hair parted in the middle and covered with a transparent veil, her head 


slightly inclined to the left and looking at the observer with an expression ; 


of ineffable but foreboding sweetness. She holds on her lap the Infant 
Christ, who gazes out of the picture, toward the left, with a solemnity of 
expression akin to that of His Mother. The Virgin is dressed in a red 
robe, cut square at the neck, where it shows the narrow edging of a 
cambric undergarment; over this is a voluminous cloak of blue lined with 
green. Behind her at the left stands St. Mary Magdalene, in a red mantle, 
with a white cambric undergarment. She holds her attribute—a vase of 
precious ointment—in her right hand. Her long fair hair is divided in 
the middle and brushed on either side of the brow, whence it flows in 
wavy mass behind her. At the right is seen the venerable bearded form 
of St. Jerome, in the red habit of a cardinal. His back is partly turned 
toward the observer, and his head almost in profile, as he looks over the 
Virgin’s shoulder towards the Divine Child. The background is occupied 
by a landscape of green hills, trees and buildings, over which is a pale 
sky flecked with clouds. 


On panel. Height, 2514 inches; Width, 21 inches. 


1 Illustrated and mentioned in the Loan Exhibition Catalog, De 50-572 
2 Illustrated in ‘Italian Furniture and Interiors” by George Leland Hunter, and in 
“Furniture and Decorations of the Italian Renaissance,’’ plate 24 p. 23. 


15 


THEY CART |W. HAMLE TON] COLL.E CG ierous 


_ Giulio Francia, younger son and pupil of Francesco Francia, was a 
painter and goldsmith. He was born in 1487 at Bologna and worked in 
conjunction with his brother, Giacomo, on the respective pictures represent- 
ing THE VIRGIN IN GLORY! and FOUR SAINTS?. The two brothers 
had a natural affinity to the art of their father, even to the Raphaelesque 
depth and vapor in their treatment of landscapes and the easy composure 
and lifelike readiness, very truthful modeling and rich transparent coloring 
rendered throughout their compositions. The hand of the goldsmith is always 
apparent in the finish and minuteness of the hair and other details in their 
paintings. Giulio died at Bologna in 1540. 


14. SIXTEENTH CENTURY SPANISH WALNUT TABLE. 


Rectangular shape, with plain top supported by four turned legs square 
at their base, joined from plain cross bars. The drawer directly under 
the top is inlaid in a decorative pattern. | 


15. GOTHIC WOODEN BOX OF THE FIFTEENTH CENTURY. 


16. FIFTEENTH CENTURY UMBRIAN WALNUT “TYROLEAN” 
CHAIR.® 


Composed of a floriated back, octagonal seat and three square out- 
spreading legs. The decoration is of a rich geometrical design with pointille 
fillings between incised circles, carried out in chip carving, the edges of 
the seat and legs having a simple incised carved pattern. 


Height, 37 inches. 


17. VENETIAN COPE OF RED CUT VELVET OF THE FIFTEENTH 
CENTURY. 


18. SIXTEENTH CENTURY TUSCAN CARVED WALNUT CREDENZA.+* 


Of oblong shape, with plain molded top enriched with a carved astra- 
galled fluted patterning. The body is composed of plain paneled ends 
and three front sunken paneled doors divided by four narrow vertical 
panels, both doors and panels having similar ornamented carved guilloche 
moldings of double ribbon spirals enclosing a central bead, surrounded by 
a bead and reed edging. Two large circular bosse handles carved with 
gadroon and astragal motifs within a raised border are applied to the 
two outer doors, the central door having a carved ribbon cartouche with 
the two lions rampant vis-a-vis above a field bendy, in the center. The 
frieze is composed of three drawers with flutings and molded borders, 
each having a carved knob, and separated by medallions carved with 
double horizontal flutings. The base member is carved with astragalled 
gadroons, and is supported on carved lions’ paw feet. 


“The credenza, or side-board—the larder of the palace as well as of 
the smaller house—shows the same design tendencies as are displayed 
in the cassone. The general form of the sixteenth century credenza, with 
few exceptions, is an oblong rectangle, its front spaced with two or three 
doors, each intersected by narrow vertical panels or pilasters that have 
brackets or carved ornaments placed directly over them in a frieze con- 
taining drawers. The bases are generally molded and often carved with 
a gadrooning and raised on lion feet. Figure 18, a typical Tuscan inter- 
pretation of this type, coming from the Palazzo Davanzati collection, 
dates about 1535. The front, with three doors—with decorations of an 
escutcheon and fluted rosettes—is separated by narrow vertical panels, 
all of which, together with the doors, are framed with wider carved molds, 


1 Berlin. 

2 Pinacoteca at Bologna. 

3 Illustrated in ‘‘Italian Furniture and Interiors’ by George Leland Hunter. 
4 Illustratea in ‘‘History of Italian Furniture’? by William M. Odom, p. 144. 


16 


fits ee GrAGRs an VV cere ViO lel) OFNe CG Ol LE Gil) LON 


such as appear in most characteristic designs between the years 1520-1550. 
Directly over the doors, drawers—with fluted panels alternating with voluted 
medallions—compose the frieze. The vigorous carved base rests on lion feet, 
while an applied carved mold encircles the top.” 


Height, 444 inches; Length, 78 inches; Width, 24 inches. 


19. FIFTEENTH CENTURY FAENZA WARE MOJOLICA DISH OR 
FRUTTIERA. 


A circular fruit dish, in the center of which, on a dark blue ground, 
is represented the FLAGELLATION OF CHRIST. The central figure is 
seen at a pillar which terminates in a dark yellow mass. The two flagel- 
lants stand on either side, the left one in the act of delivering a stroke 
with a thonged and knotted whip, and the one on the right, with his 
back turned toward the observer, appears to be preparing to give a blow 
in his turn. The two men are dressed in doublet and hose of yellow and 
brown pigments, differently designed, while the figure of Christ is nude 
save for a loin-cloth. The border is of a blue and white chevron pattern 
on a yellow ground, the angles of which separate three small green mounds 
placed one above two on the exterior edge. 


Diameter, 1414 inches. 


Pivot COMLECTION OF J. PIERPONT MORGAN. 
Exhibited at the Metropolitan Museum of Art, New York, 1913-1916. 


20. SIXTEENTH CENTURY FAENZA WARE PHARMACY JARS OR 
ALBARELLI. 


Both of identical cylindrical form, contracted at the upper part and 
base, spreading slightly at the lip and foot respectively. Both are deco- 
rated with the figure of a youth standing in a mountain landscape, one 
holding a dart-pierced heart in his right hand, with a flaming anvil before 
him, and the other holding a bauveret in his right hand and a large slashed 
hat in the left. Both are dressed in doublet and hose in motley. Each 
jar is inscribed on the back with the letter “B.’’4 


Height, 8% inches. 


fish te eCOLIECTLON OF J.-PIERPONT MORGAN. 
Exhibited at the Metropolitan Museum of Art, New York, 1913-1916. 


21. SIXTEENTH CENTURY FLORENTINE CARVED WALNUT AND 
LEATHER ARM-CHAIRS. 


Straight backs with square side supports and finials carved as honey- 
suckles and gilded; flat molded arms on turned baluster-shaped supports, 
square legs and base-rails, and deep front rails pierced and carved scrolls 
of acanthus form; backs and seats covered with contemporary leather, 
gold tooled as to the backs with scrolled shields surmounted by visors 
with acanthus lambrequins, seamed by double rows of round brass-headed 
nails and finished with a silken fringe. 


22. SAINT ROCH THE PILGRIM. By FRANCESCO RAIBOLINI, called 
FRANCIA (1450-1517). A Bolognese Work of Art of the early 
Sy 1 Century. 
St. Roch is represented in an attitude of adoration, gazing towards 
an apparition of the Eternal in the Heavens. He is dressed in the habit of a 


pilgrim and behind him is a well-lighted and undulating landscape, repre- 
senting a view of the valley seen from Perugia, with the lake of Trasimeno 


1 This mark occurs on the face of a piece figure in Delange’s folio work, pl. 54, from 
the Azeglio collection, and it may or may not be the mark of the workshop. 


We 


THE CARL WW. HAM LL O WN: $C:01 LD EeCaaieorn 


in the center. The pilgrim is standing, supporting a staff with his left 
arm, and raising the right hand toward the Holy Father. His tunic is 
red and over it is a dark green mantle. His hose are violet, turned over 
below the knees, leaving the thighs bare, and terminating at the feet, 
the toes being exposed. At his left two slender trees rise to the full 
height of the picture, and in the lower corner at his right a small branch 
bears a tablet. 


On panel. Height, 7 feet 2 inches; Width, 5 feet. 


FROM THE COLLECTION OF SIR WALTER ®RePAR ote 
BART., LONDON, 1894. PAINTED IN 1502 FOR GIOVANNI BEN i? 
VOGEIO) VY RANI OFM BOLOGNA 


Exhibited at British Institution, 1847 (No. 46); Art Treasures. 


Exhibition, Manchester, 1857; Royal Academy, Old Masters, 1885, 
(No. 176). 


Francesco Francia (of the School of Bologna) took his name FRANCIA 
from a master goldsmith to whom he was apprenticed. He was born in 
Bologna. The first years of his activity were devoted to working in metals, 
niello, medal cutting and designing, and in jewelry; also he worked as a 
typefounder. In all these branches he was famed. Precisely when he began 
to paint is not known, but it is reasonably supposed that the advent of 
Lorenzo Costa to Bologna (1483), and his subsequent friendship with Francia, 
caused the latter gradually to take up pictorial work. The influence of 
Costa on him is obvious, and later that of Ercole Roberti. With Costa he 
worked on an altar-piece for the Church of the Misericordia. Francia’s earliest 
dated work is the MADONNA AND CHILD WITH SAINTS (1494), 
painted for this church.t Before it probably were produced the HOLY 
FAMILY2, the ST. STEPHENS, and the CRUCIFIXION4. In 1495 he 
painted the MADONNA AND CHILD WITH ST. JOSEPH!®; in 1499 the 
MADONNA AND CHILD WITH SAINTS AND THE POET CASSIO§®, 
and the MADONNA AND SAINTS’. IN 1500 the MADONNA with SS. 
JEROME AND LAWRENCE! and the IMMACULATE CONCEPTION? 
were executed, and two years later the Berlin MADONNA WITH SIX 
SAINTS. Between 1505 and 1507 he painted, with Costa, the series of fres- 
coes in the Chapel of St. Cecilia, and the MADONNA DEL TERRE- 
MOTO”. His later pieces are dated as late as 1517, including a HOLY 
FAMILY (1512) MADONNA WITH SS. LUKE AND PETRONIUS 
(1513)"*, a MADONNA WITH FOUR SAINTS (1515)* and MADONNA 
(1517)**. Besides religious pictures, Francia painted portraits, as the BAR- 
TOLOMMEO BIANCHINI*. He died in 1517 and is supposed to have 
been buried in the Church of San Francesco near the tomb of his son, Gia- 
como. Under him and his partner, Costa, studied Amico Aspertini, Chio- 
darolo, Tomarozzo and Timoteo Viti. His son’s signature closely resembles 
his. 


22a. ITALIAN VELVET COPE OF BOTTICELLI GREEN, OF THE SIX- 
TEENTH CENTURY, WITH EMBROIDERED ORPHERY. 


23. SIXTEENTH CENTURY BRESCIAN WALNUT TABLE.1 


Rectangular shape, with molded and fluted top and apron carved in 
low relief with panels of scrolled oak leaves; supported at either end by 
rectangular chamfered pedestals, breaking the apron, and carved with oval 
coats-of-arms, surrounded by scrollings and flanked by carved console 
brackets formed as stags’ heads with guilloche patterned voluted bodies, 
imbricated fronts and lions’ paw feet; on molded cross bases. 


Height, 2 feet 10% inches; Length, 6 feet 8 inches; Width, 2 feet 11 inches. 


1 Gallery of Bologna. 9 Bologna. 

2 Berlin. 10 Palazzo Communale, Bologna. 

3 Borghese Gallery. 11 Northbrook Collection. 

4 Bologna. 12 Vienna. 

5 Collection of Count Jean Palffy, 13 Parma. 
Pressburg. 14 Von Sternburg Collection near 

6 Bologna. Leipsig. 

7 Bentivoglia Chapel, S. Giacomo 15 No. 2487, National Gallery, 
Maggiore, Bologna. London. 

8 St. Petersburg. 16 Illustrated in “‘Italian Furniture 


and Interiors,’’ plate 59. 


18 


ie eee On NT ee Vise EAT Vi eke oly OD Ni ONE Len Gat il OUN, 


23a. ANTEPENDIUM OF ALTAR CLOTH, EMBROIDERED WITH 
GOLD THREAD AND COLORED SILKS. Spanish Workmanship 
of the XVI Century. 


A frontal of three panels, the center piece being larger than the two 
ends. The whole field is occupied by a series of scroll, ribbon and palmette 
motifs in blue, red and green silk, and gold threads, within a border of 
scroll and ribbon design. The center panel is enriched with two circular 
reserves enclosing, respectively, the Greek cross and the fleur-de-lys. The 
end panels are embroidered with a suggestion of baskets of interwoven 
strap design, containing various fruits in colored silks. The whole is 
very richly composed and the needlework of sumptuous workmanship. 


Length, 108 inches; Width, 28 inches. 


24. SIXTEENTH CENTURY DERUTA WARE MAJOLICA DISH OR 
FRUTTIERA. 


Eyelaree=citcular fruit dish on whichis painted a scene representing 
two captains fighting a duel with swords and holding shields. Both are 
dressed in blue doublet and yellow hose, with a feather in each of their 
caps. In the background is a walled city, with an inscription on either 
procminestiics sky space; left side—EL CHAPITANO FALLA TU TI 
feo ee eebOete PASSO EL. MEZUCHO,; right side—-EL CHAPI- 
fee hh ONE ORK ESAME CH NO MAGO PIU POPNI, which trans- 
lated freely means: “Captain, if you fail to protect yourself, I shall put my 
sword through your body” and “Captain, unless you strike, I must strike 
you.” The wide border is decorated with masks, acanthus scrolls and medal- 
lions containing a coat-of-arms above and below, and on either side the 
inscription AMIRA QUI TU, which, translated, means: “Admire these two.” 
The whole is painted on a pale yellow ground. 


Diameter, 17 inches. 


ioe COLLECTION OF J. PIERPONT MORGAN. 


25. PAIR OF SIXTEENTH CENTURY VENETIAN BRONZE CANDLE- 
STICKS. By ALESSANDRO VITTORIA (1525-1613). 


Shaped as a tripod formed of three voluted scrolls faced with female 
caryatid figures and with feet formed as dolphins’ heads, separated by 
masks; vase-shaped candle-sockets modeled with figures of putti and 
rams’ heads. 


Height, 7 inches. 
26. ANTIQUE RUG, K’ANG H’SI PERIOD (1662-1722 A. D.). 


During the K’ang H’si Period large ceremonial carpets were possessed 
by the Chinese Emperor and members of the Court. The fragment on 
exhibition is all that remains of one of the masterpiece carpets of this 
period. The design is frequently seen on Chinese porcelain of the Sung 
Period. An authority contends that this fragment was woven during the 
Sung Period. Its marvelous beauty speaks for itself. 


27. SIXTEENTH CENTURY FLORENTINE IRON AND BRASS FALD- 
STOOL.+? 


A carule chair, or faldstool, composed of two arms of brass formed 
of turned baluster-shaped uprights terminating in large bobbin-shaped 
finials, each of which is surmounted by a cardinal’s coat-of-arms, which 
is that of Cardinal Jerome Doria, who died in Genea in 1558, and by 
whom the chair was probably used. He became prominent in the govern- 


1 Illustrated in ‘‘History of Italian Furniture’ by William M. Odom, p. 338; Decorative 
Furniture’ by George Leland Hunter, p. 128. 


19 


THE CARL -W.- HAMILTON COL 22 Gnas 


ment of the Republic of Genoa, and rendered great service as a diplomat, 
until he entered the Church, becoming Cardinal and Archbishop of Tar- 
ragona the year of his death. The baluster-shaped uprights are connected 
by two turned brass crosspieces. The legs are of bent wrought-iron six- 
sided rods, with crosspieces and feet similar in shape to the finials. The 
framework is joined by a pivot, between the upper and lower sections, 
to serve in folding. The seat is stuffed and covered by a velvet cushion 
spread, edged with fringe, and falling over each of the four sides. 


Height, 34 inches; Width, 28 inches. 


28. STRIP OF ITALIAN BLUE VELVET OF THE SEVENTEENTH 
CENTURY. 


29. ST. JOHN THE EVANGELIST. A _ life-size half-figure in carved 
wood with polychrome surface. A Florentine Work of the XVI 
Century. 


Depicted as a youth, half-length, at full-front, facing the observer; 
wearing a Closely-fitting robe with sleeves and a loose mantle over the 
right shoulder. The right hand is placed upon his heart and the left 
rests upon a missal before him. A small opening in the upper part of 
the left hand suggests that he once held his attribute, the attendant eagle, 
the wings and tail of which are seen beneath his arm. The whole is 
covered with a fine surface of polychrome, heightened with a gilt damask 
pattern. The face and hands are of a delicate flesh color. In early art 
St. John is an aged man with white hair and long white beard, but with 
the later painters and sculptors, St. John, as evangelist, although nearly a 
century old, is represented as beardless, with light curling hair, and has 
all the attributes of the youthful apostle. He is sometimes seated, with 
his pen and his book—sometimes standing. The attendant eagle is always 
near him and frequently holds the pen or ink-horn in its beak, 


Height, 26 inches. 


30. SIXTEENTH CENTURY TUSCAN CARVED WALNUT CABINET. 


Of rectangular shape, oblong top, with lamella and tongue cornice, 
below which are three drawers posed between four small panels, the center 
drawer having an iron loop handle. The body is flanked by two Tuscan 
columns, and two pilasters decorated with a looped lambrequin with a 
mask above and an imbrication of flat shell pattern. Two central doors 
are formed of simple molded panels, and wooden knob handles, the right 
door having a lozenge-shaped lock escutcheon. The plinth is formed of 
broken moldings continued on either side in the form of feet. 


31. SIXTEENTH CENTURY UMBRIAN WALNUT “SGABELLO” CHAIR. 


Lyre-shaped back with scrolled sides enclosing a scrolled cartouche; 
square seat with molded corners, circular molded depressions and plain 
edges; lyre-shaped front supports, with sides carved with opposed reverse- 
curved volutes enclosing a pecten shell above which is a large petalled 
flower. 


Height, 40 inches. 
32. THE INFANT CHRIST AND ST. JOHN. By BERNARDINO LUINI 


(about 1475-1531-2). A Florentine Work of Art of the late XV 
Century. 


Standing before a background of iris, and upon the bare earth where 
kingcups are growing, the two children are clinging to their mutual symbol, 
which was to develop afterwards into the Agnus Dei. The infants are 


20 


ree CrAchsL ys VWVieel ASM LO UN C Ont Ee TalOeN 


both nude. The Christ Child, at the right, glances with radiant expression 
towards the observer and entwines both arms about the neck of the Lamb, 
which submits in a docile manner to the playful treatment. St. John, 
gazing towards his companion, grasps the back of the Lamb with both 
hands. He is depicted with a more rugged touch than is the Infant 
Saviour, iis stature is more sturdy and his abundant curls are a char- 
acteristic to be found in similar and more youthful representations by 
Stieneedtiy painters and sculptors. At the back of his head is a circular 
nimbus, whilst that of the Infant Christ is a decorative ray. This group 
represents the two children with both divine and playful characteristics, 
with picturesque softness in the expression of each child, and all stiffness 
banished as the painter succeeded in doing at a later stage in his career. 
The two heads of the children have a touch of naive and childlike ease, 
putamen oeasoreat extent to the children in the MADONNA DELLA 
MOCCHein the (Louvre; both are lively, charming and gracious in their 
smiling expressions, such as are found throughout many of Leonardo’s 
sketches and paintings, until he reached at last that perfection which beams 
upon us from the countenance of MONA LISA. The painter’s infinite 
patience is also in evidence in the background, in which every flower and 
detail has been wrought with the most delicate execution. 


On canvas. Height, 31 inches; Width, 24 inches. 


Pio Mee COLLECTION OF PRINCE JEROME BONAPARTE 
(KING OF WESTPHALIA), 1784-1860. 


Bernardino Luini, the most celebrated master of the Lombard School 
of painting founded upon the style of Leonardo da Vinci, was born at Luino, 
a village on Lago Maggiore. He wrote his name as ‘“‘Bernardin Lovino,” but 
the spelling ‘‘Luini’? is now generally adopted. Few facts are known 
regarding his life and, until a comparatively recent date, many even of his 
works had been, in the lapse of years and laxity of attribution, assigned 
to Leonardo da Vinci. It appears that Luini studied at Vercelli under 
Giovenone, or perhaps under Stephano Scotto. He reached Milan either 
after the departure of Da Vinci in 1500, or shortly before that event; it 
is thus uncertain whether the two artists had any personal acquaintance, but 
Luini was at any rate in the painting school established in Milan by the 
great Florentine. In the later works of Luini a certain influence from the 
style of Raphael is super-added to that far more prominent and funda- 
mental form and style of Leonardo; but there is nothing to show that he 
ever visited Rome. 


Bernardino, who hardly ever left Lombardy, had some merit as a poet, 
and is said to have composed a treatise upon painting. The precise date of 
his death is unknown; he may, perhaps, have survived till about 1540. A 
serene, contented and happy mind, naturally expressing itself in forms of 
grace and beauty, seems stamped upon all the works of Luini. The same 
character is traceable in his portrait, painted in an upper group in his 
fresco of CHRIST CROWNED WITH THORNS!—a venerable bearded 
personage. The only anecdote which has been preserved of him tells a similar 
tale. It is said that for the single figures of saints in the church of Saronne 
he received a sum equal to 22 francs per day, along with wine, bread and 
lodging; and he was so well satisfied with this remuneration that, in com- 
pleting his commission, he painted a NATIVITY for nothing. 


A dignified suavity is the most marked characteristic of Luini’s works. 
They are constantly beautiful, with a beauty which depends at least as much 
upon the loving self-withdrawn expression as upon the mere refinement 
and attractiveness of form. This quality of expression appears in all 
Luini’s productions, whether secular or sacred, and imbues the latter with a 
peculiarly religious grace—not ecclesiastical unction, but the devoutness of the 
heart. His heads, while extremely like those painted by Leonardo, have 
less subtlety and involution and less variety of expression, but fully as 
much amenity. He began, indeed, with a somewhat dry style, as in the 
PIETA?2, but this soon developed into the quality which distinguishes all 
his most renowned works. 

Luini’s paintings do not exhibit an impetuous style of execution, and 
certainly not a negligent one; yet it appears that he was a_ very rapid 
worker, as his picture of the CROWNING WITH THORNS, painted for the 
College del S. Sepolcro, and containing a large number of figures, is recorded 
to have occupied him only thirty-eight days, to which an assistant added 


1 Ambrosian Library in Milan. 
2 Church of the Passions. 


val 


THE CARL W. HAMILTON COLE ECA ON 


eleven. His method was simple and expeditious, the shadows being painted 
with pure color laid on thick, while the lights are of the same color 
thinly used, and mixed with a little white. The frescoes exhibit more free- 
dom of hand than the oil pictures, and they are on the whole less like the 
work of Da Vinci, having at an early date a certain resemblance to the style 
of Mantegna, and later on to that of Raphael. lLuini’s colouring is mostly 
rich, and his light and shade forcible. 


33. SIXTEENTH CENTURY SIENESE PAINTED ARMOIRE.! 


Rectangular-shaped. The body, with molded cornice is arranged as 
a cupboard with four paneled hinged doors, having wooden knobs and 
fronts tempera-painted in colors on a white ground with Renaissance 
“srotesques’ consisting of amorini, putti, dogs, squirrels, birds, chimerae, 
fountains, scrolled foliage and tablets with inscriptions in Roman charac- 
ters. Molded base and shaped bracket feet. 


Height, 5 feet 6 inches; Depth, 1 foot 71% inches. | 


34. SIXTEENTH CENTURY DERUTA WARE MAJOLICA JUG. 


Lustered with a golden pigment of peculiarly pearly effect in certain 
lights and enamelled in chamois and blue. It consists of a spheroid body 
surmounted by an incurved neck, to which is attached a spout and a handle, 
and is supported by a short incurved foot. The decoration is of a large 
floriated pattern relieved by an imbrication of scale motif and perpendicular 
panels. 


Height, 8% inches. 


FROM THE COLLECTION OF M. CHAN ERI cote 
LY ONSSERAN GE: 


35. SIXTEENTH CENTURY FAENZA WARE PHARMACY JARS OR 
ALBARELLI (Two). 


Of identical shape in the form of incurved cylinders with narrow 
incurved necks and feet; enamelled in blue on a white ground with a 
floral pattern above and below wide bands, on which are inscribed on 
the one, ZUC. BORAG (Sugar of Borax), and onthe sotaer ee 
GEMMI (Vine-bud Water). On the face of each are identical figures of 
the Recording Angel within a cartouche above the name band, and coats- 
of-arms with a scroll shield and a cartouche, below the band. 


Height, 7% inches. 


FROM THE COLLECTION OF M. CHAMP ERT RR eco 
LYONS, FRANCE: 


36. A CASSONE FRONT IN TEMPERA WITH PASTIGLIA DECORA- 
TIONS ILLUSTRATING “SALADIN AND MESSER TORELLO 
D’ISTRIA.” From _ Boccaccio’s Ninety-ninth “Novella” of the 
Decameron.” By an artist: of the SCHOOM@OR  NiCGG ead 
PIETRO GERINE and LORENZO DI NICCOLO] SAS vig entae 
Work of Art of the XIV-XV Centuries.? 


The scenes of this panei are the oldest known illustrations of Boccaccio’s 
“Decameron,” and belong to the Story of Saladin as it as) told bye nine 
the last but one “Novella” (Giornata Decima, Novella XCIX), being 
identified as follows: 


1. Messer Torello d'Istria receiving Saladin and his companions. 
2. The Wife of Torello presenting Saladin with changes of garments. 
3. The Wife of Torello presenting him with a ring on his departure. 


1 The painting of the armoire is attributed to Baldassare Peruzzi, of Siena, a noted 
artist who was a contemporary of Raphael. 


2A replica of this panel is in the Museo Nationale of Florence, and illustrated in 
“History of Italian Furniture,’ by William M. Odom, p. il. 


pats 


ee Oras Rolie Vion ideAy Mi isle OeN eS C.OUs LE Cal LOwN 


The “Novella” of the ‘“Decameron” does not end with these episodes, 
Bemilidusttated7on cassoni, as a later’ part of the story has recently come 
to light,) giving three other episodes of the ‘Saladin’ subject, in order 
of sequence, supporting the contention that it was almost always two 
cassoni that the bride received with her dowry. In this case a single 
story was divided between the two chests. Passages taken from Boccaccio 
might serve, word for word, as a description of the above three scenes. 
In the first scene Torello receives Saladin and his two companions at his 
house in the country; in the second, the three travelers, whose oriental 
character is in this scene even better indicated by their costumes and the 
arrangement of their hair, receive from Torello’s wife, accompanied by 
her two little sons and a serving maid, the gift of the clothes; in.the third 
scene Torello departs for the Holy Land and receives from his wife the 
ring which is to remind him of their love. 

The subject of the Saladin story was particularly appropriate to a 
marriage chest. Indeed, no more beautiful example of gentleness of soul 
and conjugal fidelity could be offered to the newly married than Messer 
Torello d’Istria and his wife—so cordial in their hospitality to the unknown 
travelers to their house, so tender in the act of farewell, so mindful of 
one another during their enforced separation, and so joyful when the 
miraculous return permitted their reunion. 

The scenes, almost oval in shape, are painted in colors on a gesso ground. 
Around them, forming a kind of framework, are twisted fillets of raised pas- 
tiglia, opening at regular intervals, giving a rectangular effect to the scenes. 
These fillets are continuous throughout, and in their wider openings, flower 
motifs are introduced. Between the episodes four small plectrum-like shields, 
within small six-lobed frames, are added; all intervening spaces are decorated 
with leaf motifs in low relief. 


Height, 17 inches; Length, 49% inches. 


Niccolo di Pietro Gerini, who flourished in the closing years of the 14th 
century, probably received his early instruction from Taddeo Gaddi, but 
afterwards became the pupil and assistant of Spinelli d’Arezzo. His earliest 
existing work is a series of frescoes representing scenes from the PASSION, 
with the RESURRECTION, the NOLI ME TANGERE, the ASCENSION, 
and the DESCENT OF THE HOLY GHOST,? which are signed by him 
and dated 1392. At Prato, in the convent of San Francesco, is likewise a 
series of frescoes by Niccolo, representing scenes from the life of St. 
Matthew, and other subjects from the New Testament. At San Bonaventura 
he painted scenes from the PASSION, of which but fragments remain. The 
Sacristy of the Church of Santa Croce, Florence, contains frescoes that 
are assigned to this artist. His latest known work is dated 1401. It is the 
right side of an altar-piece in three compartments,? and contains the figures 
feat errr ST. JOHN THE EVANGELIST, ST. JAMES, AND ST. 
BENEDICT. The central panel contains the CORONATION OF THE 
VIRGIN, by his son, Lorenzo, whilst the left side consists of figures of 
Saints by Spinello Aretinon. An ENTOMBMENT,‘ assigned to Taddeo 
Gaddi, is by Crow and Cavalcaselle ascribed to Niccolo di Pietro Gerini. | 

Lorenzo di Niccolo Gerini, the son of Niccolo di Pietro  Gerini, 
flourished in the fifteenth century. In the passage leading to the Chapel of the 
Medici in Santa Croce at Florence is a CORONATION OF THE VIRGIN 
WITH ATTENDANT SAINTS, painted by him in 1410, but his principal 
work is an altar-piece® representing the CORONATION OF THE VIRGIN 
with a predella containing the ADORATION OF THE MAGI, signed by 
Lorenzo in 1440. 

Little is known about his life or death. 


37. SIXTEENTH CENTURY ITALIAN WALNUT “SAVONAROLA” 
CHAIR.® 


Formed of ten reverse curved square supports pivoted at their inter- 
sections and with square base rails having fluted ends; curved arms with 
sunken rosettes and shaped back with incised shield. 


1 Burlington Fine Arts Club Exhibition, 1919. 

2 Convent of San Francesco, Pisa. 

3 Academy at Florence. 

4 Academy at Florence. 

5 San Domenico, Cortona. ; : i 

6 Illustrated in “Furniture and Decorations of the Italian Renaissance,” p. 20. 


Zo 


f9 


4 


, -L-. \ Z 
Onrae Hier Nes AAMIHE CARL W. HAMILTON COLLECIgg@@ 


Se (4 €0s. THE HEAD OF CHRIST. By IL CONTE FRANCESCO MELZI. 
| Milanese School (about 1491-1568). An Italian Work of Art of 


( &) the XVI Century. 


The head is seen in direct profile towards the left, with the beard 
curled, the hair long and wavy, at the back of which is indicated a cruci- 
form nimbus. The gown, arranged in soft pleats, is embroidered with a 
gold fillet around the neck. The mantle, turned wback eat =the = meacu 
is green. 


On panel. Height, 19% inches; Width, 1434 inches. 


Il Conte Francesco Melzi, to give him his full name, a painter of the 
Milanese School, was born in Milan of noble parents about 1491. He died 
Int SOS, 

He was a pupil and friend of Leonardo da Vinci, Francesco being in 
attendance at the time of Leonardo’s death. Melzi succeeded to the master’s 
arenes instruments and the other materials with which the master had 
worked. 

This young nobleman painter practiced painting rather for the pleasure 
it gave him than to make a career for himself. While many paintings in 
museums and private collections are ascribed to him, there are only four or 
five that are definitely known to have been painted by him, one of them 
being the CHRIST HEAD. 


39. SIXTEENTH CENTURY ITALIAN WALNUT “SAVONAROLA” 
CHAIR.1 


Formed of ten reverse curved square supports pivoted at their inter- 
sections and with square base-rails having fluted ends; curved arms with 
sunken rosettes and shaped backs with incised shield. 


40. THE MADONNA AND CHILD WITH TWO ANGELS. By PIETRO 
VANNUCCI, called PERUGINO (1446-1523). Umbrian School. 


A Florentine Work of Art of the XV Century. 


The Virgin, in an old-rose colored tunic edged with gold embroidery 
around the throat, and a blue mantle lined with green, is seated and seen 
"ae at full-length, turned slightly towards the right. Her right foot, which is 
UTA bare, is advanced before the left. Her head, around which is a white 
veil which also encircles the shoulders, is inclined slightly to the left, as 
she gazes in that direction. Upon her right knee and seatedseupon sa 
ee cushion is the nude Child, whom she supports with both arms. His head 
lA} is directed to some unseen worshipper at the right upon whom He bestows 
Vim | His benediction. Golden nimbi encircle the heads of the Virgin and Infant 
; Saviour. On either side, depicted at full-length, standing with bare feet 
in adoration, with fingers meeting in an attitude of prayer, is an angel, 
each slightly directed towards the center. The figure at the right, with 
purple-tinted wings, is dressed in a peach-colored mantle with red shadows, 
and a lavender and green undergarment, over the sleeves of which floats 
a veil of transparent purple. The left figure, with wings of a reddish- 
purple tint, is dressed in a brown mantle with purple shadows and an 
undergarment of light brown and green. The background is a typical 
Umbrian landscape, with a distant range of hills, seen beyond a low wall 

placed immediately behind the three figures. 


On panel. Diameter, 50 inches. 


Pier della Pieve or Pietro Vannucci, born at Castello della Pieve, is 
usually called Perugino, from Perugia, where he spent his youth and learned 
his art. He was probably pupil to Fiorenzo di Lorenzo, and was influenced by 
Signorelli and largely by Verrocchio, in whose studio he probably worked 
with Leonardo and Lorenzo di Credi, before 1475, when he was commissioned 
to paint in the Palazzo Pubblico, Perugia. The frescoes he made have per- 
ished; of those executed in a chapel at Cerqueto in 1478 a ST. SEBASTIAN 
and other figures remain. An earlier work is alleged to be the ASSUMP- 
TION,? finished in 1469 by Perugino for Piero della Francesco, for the church 


1 Illustrated in ‘“‘Italian Furniture and Interiors.” 
2 Now at Borgo San Sepolcro. 


24 


Xe 


ql 


ee CrAsRel aan VViee | eA Mel Lal OuNmnC Ola: EG) hOrN 


of St. Augustino. In 1481-82 he was at Rome, employed with Signorelli, 
Cosimo Rosselli, Ghirlandaio and Botticelli, to paint in fresco in the Sistine 
Chapel. Of his four works, three, which filled the altar-end, were destroyed 
to make room for Michelangelo’s LAST JUDGMENT; the fourth, the 
DELIVERY OF THE KEYS TO ST. PETER, still remains. After his de- 
parture from Rome, he had studios at Florence and Perugia, but was himself 
frequently elsewhere attending to his many engagements. In 1489 he was 
invited to Orvieto to paint the Chapel of S. Brizio in the Duomo, but after 
negotiations, renewed _ at intervals of years, he renounced the undertaking. 
In 1490 he was in Perugia, in 1491 in Rome again, working for Cardinal 
della Rovere, on the altar-piece now in the Villa Albani. In 1493 he was 
a councillor in Citta della Pieve, and in Florence, where he painted a 
MADONNA AND CHILD for San Domenico in Fiesole. In 1494 he was in 
Venice and Cremona, in 1496 at Pavia working for Il Moro, Duke of Milan, 
and the same year in Venice, Florence, and Perugia, so much was he in 
demand. In 1497 Perugino was on a commission, in Florence, to assess the 
value of certain frescoes of Alesso Baldovinetti; he visited Fano, too, and 
probably Perugia; in 1498 he was again in Florence. In 1499 he began his 
most important frescoes in the Cambio, Perugia, into which he introduced 
his own portrait. Between 1502-17 he was at Florence, Perugia, Citta della 
Pieve, Foligno and Rome; perhaps Assisi, and certainly Siena and Citta della 
Pieve, in 1512-17. His influence in Umbria and Siena was wide; Lo 
Spagna and Pinturicchio are prominent among his followers. He died of 
plague, presumably, at Fontignano, 1524. 


Poona re COLLECTION OF LORD NORTHWICK. 


Exhibited at Art Treasures Exhibition, Manchester, 1857; Glasgow 
Museum of Art. 


41. SIXTEENTH CENTURY CARVED WALNUT UMBRIAN CASSONE. 


Peiemiornmor a rectangular sarcophagus. The lid is hinged and 
raised in the center with a large single molded, domed panel and finished 
with molded edges. The front is composed of a sunken panel within a 
molded border, and is divided into two smaller rectangular raised panels 
with acanthus scrollings and beaded moldings separated by a circular 
wreath enclosing a ribbon escutcheon, above which is a key-hole. The 
base is formed of fig-shaped gadroons with articulated edges. The angles 
are composed of perpendicular sheaths of acanthus leaves terminating in 
small volutes and spreading at the base above lions’ paws which form 
ies cet. 


42. SIXTEENTH CENTURY MAJOLICA VASE. 


43. SIXTEENTH CENTURY FAENZA MAJOLICA PLATE OR TAGLIERI 
(Two). 


O eercilar oti, with spora azzuro decorations on a wide border 
composed of arabesques, dolphins, cherubs and scrolls. The center is 
hollowed and of small dimensions, bearing an undetermined shield of arms 
surrounded by a fillet edging, one being inscribed around the depression: 
Pee soOR  DICLETA. DINAVARE, MDXXXV. 


Diameter, 9% inches. 
Peo Vee heCOLLECTION OF J. PIERPONT MORGAN. 


44. SIXTEENTH CENTURY UMBRIAN WALNUT _  “SGABELLO” 
CHAIR.! 


Lyre-shaped back with scrolled sides enclosing a scrolled cartouche; 
square seat with molded corners, circular molded depressions and plain 
edges; lyre-shaped front supports with sides carved as dolphins enclosing 
a scrolled cartouche, their voluted tails supporting a guilloche molded and 
rosetted frieze, their heads forming feet. 


Height, 40 inches. 


1 Illustrated in ‘‘Furniture and Decoration of the Italian Renaissance,” p. 15. 


25 


THE CARL W. HAMILTON COLL ECiLOMN 


45. STRIP OF ITALIAN BLUE VELVET OF THE SIXTEENTH 
CENTURY. 


46. THE CRUCIFIXION. By PIETRO DEI FRANCESCHI, called PIERO 
DELLA FRANCESCA (about 1416-1492). A Florentine Work of 
Art of the XV Century. 


In the center of the composition Christ is seen nailed to the Cross, the 
body drawn simply as that of an inert man, reposeful and without any 
sign of suffering. The Virgin, in blue mantle, is seen at the left, near 
the foot of the Cross, supported by St. Mary Magdalene, in red mantle 
and flowing hair, and at the back by Mary and Martha, whilst St. John the 
Evangelist, in rose-colored mantle, stands in a  supplicating manner 
towards the Cross at the right. In the center foreground three soldiers 
are drawing lots for the purple robe upon which they are seated. A 
centurion on horse-back, at the left, is raising his hands in adoration, 
behind him being Roman lance and banner bearers. On the extreme 
right a horseman raises his stave authoritatively towards the Cross, and 
before him there are more lance and banner bearers, some carrying shields 
upon which are the initials of Senatus Populus—Que Romani. The back- 
ground is formed of a group of low hills, with two large trees in the middle 
distance. The sky space is entirely of gold. 


The scene appears thronged with horsemen, with flags and banners and 
upright spears, and, in the absence of all the more barbarous features, 
assumes a kind of splendor seldom associated with the Crucifixion, Through- 
out the picture the masses of light and shade are managed with the utmost 
skill, and the deep dark and high lights are very strongly contrasted. The 
figures seem to fall naturally into ordered form, and indicate to a large 
extent the geometrical training of the master’s hand and eye. The Christ 
is probably drawn from the same model who served for the Christ in the 
FLAGELLATION,! and there is much similarity to the Christ in the altar- 
piece of the MADONNA DELLA MISERICORDIA?. The figure of St. 
John the Evangelist also possesses a great likeness to the one in the latter 
painting, which is considered to be the earliest of Piero’s extant pictures. 
The landscape is in Piero’s ordinary style, but somewhat more carefully 
handled than usual. The horses, inspired presumably by his assiduous study 
of antique forms, are nevertheless full of life and admirably drawn, as is 
the grouping of the soldiers and the detail of their costumes and helmets. 
The disposition of the uplifted spears and banners reminds us somewhat 


of the larger group in the same artists DEFEAT AND DEATH OF 
CHOSROES, KINGsO EEE Rois 


On panel. Height, 14 inches; Width, 16 inches. 


Exhibited at Fogg Art Museum, Harvard University, 1918; Fiftieth 
Anniversary Exhibition of the Metropolitan Museum of Art, New York, 
1920; Loan Exhibition at the galleries of Duveen Brothers, 1924. 


FROM THE COLLECTION OF-MARCO ANTONIGSCGRG 
PRINGEsOL PAL DANG: 


Pietro di Benedetto dei Franceschi, to give him his full name, a leading 
painter of the Umbrian School, was born at Borgo San Sepolcro, a city 
situated midway between Arezzo and Urbino. The exact date of his birth 
cannot be fixed. He died in 1492 and, if, as Vasari states, he lived eighty- 
six years, he must have been born in 1406. The master is generally named 
Piero della Francesca, and his father was a certain Benedetto dei Franceschi, 
a member of a family which had been established in the city for three 
generations, and had given seven members to the Consiglio del Commune. 
This Benedetto married Romano di Perino di Carlo da Monterchi, and he 
continued living during many years of Piero’s career, dying, according to 


1 Urbino. : 
2 Chapel of the Hospital at Borgo San Sepolcro. 
3 Church of San Francesco, Arezzo. 


26 


alia OrA Rel aenVY meet eAS Vi ilaleosOuNeen ClO) Uelebn Grlal Onn) 


Signor Gaetana Milanesi, somewhere about the year 1465, a fact which 
contradicts Vasari’s statement that the boy’s education was left entirely 
to the care of his mother. The painter is also named Piero Borghese, from 
his birthplace, and, judging from his signature on his works, he would 
probably have called himself Pietro del Borgo. The true family name was 
as above stated, Franceschi, and descendants still exist under the name 
of Marini-Franceschi, and live in the master’s native town of Borgo San 
Sepolcro. 


Piero first received a scientific education, and became an adept in 
mathematics and geometry. This early bent of mind and course of study 
influenced to a large extent his development as a painter. Skillful in linear 
perspective, he fixed rectangular planes in perfect order and measured them 
and thus got his figures in proportional height. He preceded and excelled 
Ghirlandaio in projecting shadows, and rendered with considerable truth 
atmosphere, the harmony of colors, and the relief of objects. He was 
naturally, therefore, excellent in architectural painting, and, in point of 
technique, he advanced the practice of oil-coloring in Italy. The majority 
of his pictures were painted in oil, then a comparatively new medium for 
colors, and he carried out many improvements in the usage of this vehicle. 


The earliest trace that we find of Piero as a painter is in 1439, when 
he was an apprentice of Domenico Veneziano, and assisted him in painting 
the Chapel of Sant’ Egidio, in Santa Maria Novella of Florence. Towards 
1450 he is said to have been with the same artist in Loreto; nothing of his, 
however, can now be identified in that locality. In 1451 he was by himself, 
painting Rimini, where a fresco still remains. Prior to this he had executed 
some extensive frescoes in the Vatican, by the order of Pope Nicholas V. 
but these were destroyed when Raphael undertook on the same walls the 
LIBERATION OF ST. PETER and other paintings by command of Julius 
II. His most extensive extant series of frescoes is in the choir of San 
Francesco in Arezzo, the HISTORY OF THE CROSS, beginning with leg- 
endary subjects of the DEATH AND BURIAL OF ADAM, and going on to 
fem vero tORACLIUS INTO, JERUSALEM AETERY THE 
OVERTHROW OF CHOSROES. This series is, in relation to its period, 
remarkable for efiect, movement, and mastery of the nude. The subject of the 
VISION OF CONSTANTINE is particularly vigorous in chiaroscuro, and a 
preparatory design of the same composition was so highly effective that it 
used to be ascribed to Giorgione. A noted fresco at Borgo San Sepolcro, 
the RESURRECTION,! may be later than this series. An important painting 
of the FLAGELLATION OF CHRIST,? is later still, probably towards 1470. 
Piero appears to have been much in his native town of Borgo San Sepolcro 
from about 1445, and more especially after 1454, where he finished the series 
in Arezzo. He grew rich there, and there he died, being buried in October, 
1492. 


Piero used to work assiduously from clay models swathed in wet draperies 
producing a multitude of folds. Luca Signorelli was his pupil, and probably 
to some extent Perugino; and his own influence, furthered by that of 
Signorelli, was potent over all Italy. Belonging as he does to the Umbrian 
School, he united with that style something of the Sienese and more of the 
Florentine mode. 


Two statements made by Vasari regarding Piero della Francesca are 
open to controversy. He says that Piero became blind at ‘the age of sixty, 
which cannot be true, as he continued painting for some years later; but 
scepticism need perhaps hardly go to the extent of inferring that he was 
never blind at all. Vasari also says that Fra Luca Pacioli, a disciple of 
Piero in scientific matters, defrauded his memory by appropriating his 
researches without acknowledgment. This is hard upon the friar, who con- 
stantly shows a great reverence for his master in the sciences. One of 
Pacioli’s books was published in 1509, and speaks of Piero as still living. 
Hence it has been propounded that Piero lived to the patriarchal age of 
ninety-four or upwards; but, as it is now stated that he was buried in 
1492, we must infer that there is some mistake in relation to Pacioli’s 
remark; perhaps the date of writing was several years earlier than that 
of publication. Piero was known to have left a manuscript of his own 
on perspective; this remained undiscovered until a recent date, when it was 
found in the Ambrozia Library of Milan, ascribed to some suppositious 
‘Pietro, pittore di Bruges.” 


In the London National Gallery are four paintings attributed to Piero 
della Francesca. One of them, a profile of ISOTTA DA RIMINI, may 
be safely rejected. THE BAPTISM OF CHRIST, which used to be the 
altar-piece of the Priory of the Baptist in Borgo San Sepolcro, is an important 
example; and still more so the NATIVITY, with the Virgin kneeling, and 
five angels singing to musical instruments. 5 


1 Palazzo d’Conservatori. 
2 Cathedral of Urbino. 


27 


THE CARL’. W.. BoA MLE TO Ne (COU LE Cones 


47. FIFTEENTH CENTURY VENETIAN CARVED AND INLAID WAL- 
NUT COFFER. 


Rectangular shape. Sunken paneled, molded and dentelled hinged lid, 
with frieze inlaid in a pattern of rectangular interlacements; front divided 
by four pilasters with Gothic capitals, paneled and inlaid shafts and molded 
bases, into three molded panels inlaid with geometrical patternings and 
enclosing two quatrefoil and one circular medallion carved with late Gothic 
traceries, the side medallions enclosing rayed rosettes of inlay, the center 
one a carved coat-of-arms; carving heightened with gilding; paneled inlaid 
and carved sides; plinth inlaid with geometrical patterning and molded base. 


Height, 2 feet 1 inch; Length, 4 feet 2 inches; Width, 1 foot 8 inches. 


48. SIXTEENTH CENTURY DERUTA WARE MAJOLICA DISH. 


Of circular shape with molded edge and flat rim, the border of which 
is decorated with an imbrication of scale pattern, the pattern of each being 
shaded to give a jewelled effect. The depression is ornamented with a classic 
head crowned with a laurel wreath, the body being covered with a Floren- 
tine shield of arms. At the left is a phylactery bearing the inscription: NO 
TE FIDARE CHE OGNI E PASTORE E LUPO swite eee 
means, TRUST NOT ALL SHEPHERDS: ONE MAY 
Brown and blue lustered glaze. 


Diameter, 15% inches. 


FROM THE COLLECTION OF MR, THOMAS SU 
SEX, ENGLAND: 


49. SEVENTEENTH CENTURY ITALIAN BRONZE CANDLESTICKS.* 


Two balaustro candlesticks, identical in shape, formed of sconce, stem 
and base. The shallow sconce of cup-form surmounts a shaft of three 
divisions, the upper part being ornamented with a band of raised circlets 
and single pearls alternately placed, below which is a tulip-like stem above 
a gadrooned vase-shaped standard. The whole is supported by a wide 
circular base repousse with gadroons, with a spreading and molded foot. 


Height, 16% inches; Diameter, 10% inches, 


50. SEXTEENTH CENTURY UMBRIAN WALNUT “SGABELLO” CHAIR.? 


Shaped back with scrolled sides enclosing a scrolled cartouche; square 
seat with rounded corners, a circular molded depression and fluted edges; 
lyre-shaped front supports with sides carved with dolphins enclosing a 
scrolled cartouche, their voluted tails supporting a guilloche molded and 
rosetted frieze. Their heads form the feet. 


51. ANTIQUE CHINESE RUG, K’ANG H’SI PERIOD (1662-1722 A. D.). 


Antique Chinese Rugs cover a period of 1,200 years. Examples of 
the weaving of the T’ang Dynasty, 618-906 A. D., are preserved in the 
Imperial Treasury at Nara, Japan. The design of these weavings consists 
of lotus and sprays and birds on a dull gold ground. Of all the periods 
of Chinese Rugs, however, collectors prefer the rugs of the period of 
K’ang H’si. Here occurred the grand crescendo of the art omecan aes 
decoration, color scheme and fine technique. Rugs of earlier period are by 
comparison primitive; rugs of later period over-elaborate and assertive. 
The example of weaving which is the subject of this description is unques- 
tionably one of the finest which the K’ang H’si Period produced. 


1 Illustrated in “Decorative Furniture’? by George Leland Hunter, jon eaie 
2 Illustrated in ‘“‘History of Italian Furniture and Interiors.’ 


28 


elise eCrAsR La Ws ti AUM LibeO Ne ClO LE Cal FON 


This masterpiece has a burnished brown color which has been obtained 
probably by the fading of yellow and red. It is doubtful if this color has 
ever been duplicated. The design consists of the four emblems of the 
scholar—namely, box of books, chessboard, rolls of paintings and harp— 
associated with some of the so-called “hundred antiques.” This composite 
pattern is the favorite design of the cultivated Chinese gentleman. Among 
the “hundred antiques” can be observed vases, screens, writing sets, brushes 
and ink cakes, lotus flowers and other sprays. The corners are formed of 
geometric dragon-headed figures in light colors, which have become subdued 
with age and now blend with the body of the rug. There are three heavy 
contrasting borders—one of Blue T fret, another a floral design delicately 
traced, and finally an outer border of swastika fret with lotus buds inserted 
at intervals. 


52. CARVED WOODEN POLYCHROME STATUE. GERMAN, SWA- 
BIAN SCHOOL. 


Representing the Virgin standing, holding the Child in her arms. The 
Virgin is dressed in a long mantle reaching below the knees, open at the 
breast and held in folds under the forearms as she supports the nude figure 
of the Child on her left arm. She wears a long gown beneath her mantle, 
Cutssduate at the throat and encircled at the waist by a girdle, Her hair 
falls in long waves over her shoulders. On her head is a crown. ‘Traces 
of polychrome decoration are seen upon the carving. 


Height, 40 inches. 


53. SIXTEENTH CENTURY UMBRIAN PANELED WALNUT MONAS- 
TERY CABINET. 


Of rectangular shape, faced with four large vertical panels with four 
smaller panels above and four below, divided by molded stiles, and opening 
at the center as hinged doors; molded cornice and base, supported upon 
shaped bracket feet. 


Height 48% inches; Width, 47 inches; Depth, 2134 inches. 


54. TWELFTH CENTURY PAIR OF FLEMISH DINANDERIE CANDLE- 
STICKS. 


Posed right and left, and in the form of a pilgrim carrying a child 
on one arm, and leaning upon a staff, terminating in a candle-holder, with 
the other; standing upon a short molded pedestal beneath which is a 
shallow bobbin-like turned stand. The figure of the pilgrim is dressed 
in a smock reaching to the knees, and the legs are indicated as being in 
hose. The candle sconces are of lantern form and supported on two 
looped legs. The metal is of brass or latten. 


54a. SIXTEENTH CENTURY WALNUT UMBRIAN' “SGABELLO” 
CHAIR.! 


Shield-shaped back with sides carved with voluted scrolls and center 
surrounded by scrolling; front support carved with dolphins, guilloche pat- 
ternings, rosettes and scrolled egg-shaped medallion; shaped back supports, 
carving throughout heightened with gold. 


55. TERRA COTTA PLAQUE, representing THE VIRGIN AND CHILD. 
By DOMENICO ROSELLI (1439-1498). A Florentine Work of Art 
of the XV Century. 


The Virgin, seen at full length, seated upon a rectangular banquette 
with a red cushion, supports with both hands the nude “Christ Ghildieas He 
stands upon her left knee. The biue mantle of the Virgin is arranged in 


1 Illustrated in “‘History of Italian Furniture and Interiors.” 


29 


THE CARL W. HAMIL DON “COL LEC ios 


soft and ample folds and covers her entire figure, except where her red 
gown is showing from the throat to the waist, at the right forearm and 
a little at the foot. Her hair falls in abundant waves on either Side or 
the head to the shoulders, and is bound backwards at the ears. Her veil is 
fashioned in the form of a hood. Her countenance is expressive of a pen- 
sive mood, while He, holding His Mother’s girdle with the right hand, 
gazes with interested attention before Him. 


Height, 24 inches; Width, 14 inches 


Domenico Roselli was a follower, if not a pupil, of Desiderio da Settig- 
nano. His first work seems to have been the Font,! with reliefs of the 
BAPTISM OF CHRIST and the VIRTUES, the figure of HOPE being 
reminiscent of Agostino di Duccio. He went to Florence about 1464, and 
worked at the Monumental Slab of AGOSTINO SANTUCCI in S. Croce. 
In 1476 he went to Urbino, where he helped to decorate the Ducal Palace, 
probably under the direction of Ambrogio di Milano. The Santucci family 
were evidently his patrons, for in 1479 he made the MONUMENT OF 
CALAPATRISSA SANTUCCLI in the court of the Palace, and decorated the 
Santucci Palace. In 1480, he went to Fossombrone and carried out his 
masterpiece in the Cathedral, the ANCONA of the high altar, with five 
figures of Saints and five reliefs. In the lunette over the door is a relief 
of the Virgin between St. Francis and St. Bernardino. His figures are 
dignified and life-like, and his taste as a decorator is correct. In the Victoria 
and Albert Museum there is a MADONNA by him, a work of great beauty. 


56. FIFTEENTH CENTURY FLORENTINE PANELED WALNUT WRIT- 
ING DESK AND PRIE-DIEU. 


Of rectangular shape and with hinged open and dentelled top, serving 
as writing surface and lid-top desk. Below the body is arranged as a deeply 
recessed cupboard with two twin paneled hinged doors with slender paneled 
projecting pedestals ‘and paneled sides; supported on a molded base. 


Height, 34 inches; Width, 32 inches; Depth, 15 inches. 
57. SIXTEENTH CENTURY SPANISH EBONY AND IVORY CRUCIFIX. 


A small altar Crucifix with carved ivory figure of the Saviour mounted 
upon a pyramidal ebony base with three billettes on either edge, the lower 
ones serving as feet, the face being inlaid with mother-of-pearl representing 
the initials I. H. S. with cross and nails within a radiation enclosed within 
an elipse, minute crosses filling the intervening spaces. The cross is of 
ebony with a backing of beechwood. 


Height 2034 inches. 


58. SIXTEENTH CENTURY UMBRIAN WALNUT “SGABELLO” CHAIR.? 


Lyre-shaped back with scrolled sides enclosing a scrolled cartouche; 
square seat with molded corners, circular molded depressions and fluted 
edges; lyre-shaped front supports with sides carved as dolphins, enclosing 
a scrolled cartouche, their voluted tails supporting a guilloche molded and 
rosetted frieze, their heads forming the feet. 


Height, 40 inches. 


59. AN ITALIAN GOTHIC COPE OF FIGURED VENETIAN VELVET 
WITH GOLD EMBROIDERED ORPHREYS. Last Quarter of the 
XV Century.* 


Orphreys finely wrought in colored silks and gold threads, displaying 
crocheted Gothic canopies with slender columns, occupied by standing figures 
of saints; fine original hood, executed in the manner of the orphreys, rep- 


1 Collegiate Church of S. Maria a Monte, near Empoli. 

2 Illustrated in “‘Furniture and Decorations of the Italian Renaissance,” p. 15. 

3 Illustrated in color in George Leland Hunter’s ‘‘Decorative Textiles,’ p. 33, New 
York, 1918. 


on 


30 


Heiter ChACR Wee AML LT ON (COL EG E10 N 


resenting the Virgin enthroned; field of yellow velvet woven in light and 
dark tones, exhibiting conventionalized carnations and clustered pomegran- 
ate motifs. 


60. FIFTEENTH CENTURY FLORENTINE DAIS BED OF INLAID 
WALNUT.! 


The bed proper has a rectangular head-board, with a molded dentelled 
cornice, a frieze with a lozenge-shaped inlay, and is divided into eight 
molded panels by stiles inlaid with lines in a geometrical interlacement. 
The foot-board has a molded cornice, a band of inlay, and is divided into 
four molded panels with stiles inlaid in geometrical interlacements. The 
high dais on which the bed stands has its ends and sides divided into molded 
panels with inlaid stiles. This characteristic type of bed was used in Italy, 
especially in Tuscany, during the late XIV and early XV centuries. 


Height, 56% inches; Length, 104 inches; Width, 85 inches. 


61. BED COVER OF ITALIAN GREEN VELVET OF THE SEVENTEENTH 
CENTURY .? 


62. SIXTEENTH CENTURY ITALIAN WALNUT CHAIR.? 


Sgabello character; shaped back with scrolled sides enclosing a crowned 
shield carved with the coat-of-arms of the Albergotti family of Arezzo; 
octagonal molded seat and lyre-shaped front support carved with side 
scrollings and a large grotesque mask. 


63. THE VIRGIN AND CHILD, known as THE MADONNA DELLA VIA 
CAVOUR. By DESIDERIO DA SETTIGNANO (1428-1464). A 
Florentine Work of Art of the XV Century. 


This plaster, modeled in bas-relief, represents the Madonna three- 
quarters to the right, dressed in a brown robe, light veil and gilded cloak, 
supporting the Infant Christ upon her knee. She is seated upon a banquette, 
of which the volute of the arm just shows at the lower left corner of the 
panel. She embraces the Child, who is dressed in a red gown, with both 
arms, her left passing behind His back and the right hand resting beneath 
His chin, while He clasps His Mother’s right arm with both hands. Gilt 
halos and dark background. 


This plaque is a free rendering of the famous marble Madonna which 
adorns a labernacle in one of the angles of the Palazzo Panciatichi in the 
Via Cavour, Florence. Two Madonnas only, of this order, are accredited 
to Desiderio, the one in the Via Cavour and its variants, and the other in 
ine Museum at Turin. Writing of these works in his LA SCULPTURE 
FLORENTINE, 1899, page 75, Marcel Reymond says: “These Madonnas 
are of great beauty, and their relations with the art of Donatello are such that 
they were for a long time attributed to this master. Upon this delicate 
question we have nothing to affirm but it appears that this art, in which 
are to be seen some of the characters of Donatello, notably the finesse of 
treatment, the suppleness of the draperies, the slight thickness in the reliefs, 
and at the same time less gravity, but more tenderness, represents more 
faithfully the art itself of Desiderio.” 


Height, 29 inches; Width, 20% inches. 


Po siege Ee eCOLLECTION SOF” PROPESSOR. -GLISSANET 
PLOREN CE, 


1 Illustrated in ‘‘Italian Furniture and Interiors’? by George Leland Hunter, plates 7 
and 128; ‘‘History of Italian Furniture’ by William M. Odom, p. 47. 

2 Illustrated in ‘‘Furniture and Decorations of the Italian Renaissance,” p. 26. 

3 Illustrated in “Italian Furniture and Interiors’ by George Leland Hunter. 


31 


THE CARL, W. HAM Li TON £CO bik Gammosn 


Desiderio was one of Donatello’s most distinguished pupils, and one of 
those fortunate personalities with a keen sense of beauty allied with an 
adequate power of expression. Considering how thorough his method was a 
large legacy of achievement was scarcely to be expected of him, and the 
cruel brevity of his life made the list of his works a very scanty one. Little 
is known of his early years. It is quite possible that the decoration of the 
frieze of the portico of the Pazzi Chapel in S. Croce, with cherubs’ heads, in 
collaboration with Donatello, may have been an early work of his. This 
ascription, now generally accepted, has no documentary support, but the 
characteristics of the two masters are plainly apparent. There is strength 
and character in the infant faces, which Desiderio alone would scarcely 
have imparted to them, and their open mouths recall the boys on the Cantorio 
and on the altar at Padua. Angelic softness which does not cloy, as it too 
often does, is the mark of Desiderio’s hand. His masterpiece is the TOMB 
OF CARLO MARSUPPINI, who died in 1455, in S. Croce. This noble 
monument is too well known to demand detailed description. Without doubt 
Desiderio took for his model the Tomb of Leonardo Bruni by Bernardo 
Rossellino on the opposite wall, and in passing over from one of these 
masterpieces to the other it is difficult to adjudge. 


64. SIXTEENTH CENTURY FLORENTINE WALNUT CABINET DESK. 


Rectangular shape, with molded top and frieze enriched with circular 
medallions, separated by triglyphs and guttae, and fitted with two drawers; 
supported at each side by console brackets with carved fronts, and arranged 
as a cupboard with two hinged and molded paneled doors flanked by vertical 
molded panels; molded and broken base. 


Height, 36 inches; Length, 48 inches. 


65. FIFTEENTH CENTURY WALNUT “TYROLEAN” CHAIR.1 


Composed of floriated back, octagonal seat and three square outspreading 
legs. The decoration is of geometrical design with stippled fillings between 
incised circles, carried out in chip carving; the edges of the seats, legs, and 
the cross-rail of chair having a simple incised continuous pattern carved 
upon same. 


Height, 37 inches. 


66. SIXTEENTH CENTURY FAENZA MAJOLICA PLATE OR TAGLIERI. 


67. SIXTEENTH CENTURY ITALIAN WALNUT CHAIR.? 


Sgabello character; shaped back with scrolled sides enclosing a crowned 
shield carved with the coat-of-arms of the Albergotti family of Arezzo; 
octagonal molded seat and lyre-shaped front support carved with side 
scrollings and a large grotesque mask. 


68. FIFTEENTH CENTURY WALNUT “TYROLEAN” CHAIR.? 


Composed of floriated back, octagonal seat and three square outspreading 
legs. The decoration is of geometrical design with stippled fillings between 
incised circles, carried out in chip carving. 


Height, 39% inches. 
69. SEVENTEENTH CENTURY BLUE VELVET. 


70. ST. JOHN IN THE DESERT. By DOMENICO VENEZIANO 
(About 1400-1461). A Florentine Work of Art of the XV Century. 


This scene represents St. John the Baptist at the time of his retire- 
ment to the desert to prepare for the coming of Christ. He is seen as a 
semi-nude figure, casting off his garments before his adoption of a camel 
hair covering. He holds with his right hand a cloak over the right shoul- 


1 Illustrated in ‘‘Furniture and Decorations of the Italian Renaissance,” p. 25. 
2 Illustrated in “Italian Furniture and Interiors’ by George Leland Hunter. 
3 Illustrated in ‘‘Furniture and Decorations of the Italian Renaissance,’’ p. 16. 


32 


ieee Cenc ho lume VWVi en lt sACVirleLed OsNe iC Ot ECON 


der, and with his left hand he casts a red robe to the ground. The figure 
leans forward slightly towards the left. Above his head is a gilt halo. At 
the right is a representation of the River Jordan winding its way through a 
valley. The background is formed of sharply defined mountains and hills 
interspersed with shrubs. 

This painting is one of the five small panels, which formerly composed 
the predella of the famous altar-piece by Domenico! 


On panel. Height, 12% inches; Width, 11 inches. 


Porat Newt HE COLLECTION OF BERNARD BEREN- 
SON, ULCORENCE. 


Of this painter extremely little is known. Although he called himself a 
Venetian, it is uncertain whether he was such by birth or by descent only. 
He was at Perugia in 1438, where he decorated the vestibule of the Casa 
Baglioni with five and twenty figures of illustrious men. He next appears 
in Florence, whither he had probably been invited by Cosimo de’ Medici, 
“Tl Vecchio,’”’ and between 1439 and 1445 was painting in the chapel of 
Sant’ Egidio in S. Maria Nuova. His works there no longer exist; they 
may have shown traces of the assistance of his distinguished pupil Piero 
della Francesca, as well as evidence of the use of an oil medium in Italy at 
that period. Vasari says that, after Domenico’s advent in Florence, both 
master and scholar painted together at Loreto. But, if they really worked 
conjointly there, it is more likely to have been after than before the com- 
pletion of their labors in S. Maria Nuova. His alleged association with 
Andrea del Castagno in the work of S. Maria Nuova, is invalidated by the 
absence of any evidence that his labors there were prolonged beyond 1445, 
while those of Andrea were not begun before 1451. More direct testimony 
disproves the tale of his murder by Andrea. Domenico died at Florence 
in May, 1461, and was buried in S. Pier Gattolino. 


71. SIXTEENTH CENTURY TUSCAN CARVED WALNUT CABINET.? 


Of rectangular shape, oblong top, with lamelle and tongue cornice 
below which are three drawers posed between four small panels, the center 
drawer having an iron loop handle. The body is flanked by two Tuscan 
columns and two pilasters decorated with a looped lambrequin with a mask 
above and an imbrication of flat shell pattern. Two central doors are formed 
of simple molded panels and wooden knob handles; the right door having 
a lozenge-shaped lock escutcheon. The plinth is formed of broken moldings 
continued on either side in the form of feet. 


72. SIXTEENTH CENTURY DERUTA WARE MAJOLICA VASE. 


Lustered with a golden pigment of peculiarly pearly effect in certain 
lights and enamelled in chamois and blue. It is composed of a hemispherical 
body surmounted by an abruptly incurved neck to which are attached two 
handles, and is supported by a short baluster foot. The decoration is zonal; 
the under part of the body of a gadroon pattern with an imbricated band 
above, ana )a tloriated design, relieved by imbrications around the neck, 
with a band of small discs above. 


Height, 834 inches. 


Me oe oe COULECTION OF Mo CHAMBRIERE ARLES, 
i ONS RAN CE. 


73. SIXTEENTH CENTURY FLORENTINE WALNUT “SAVONAROLA” 
CHAIR.?* 


Having curved sides and legs formed of eight reverse-curved interlacing 
supports, pivoted so as to fold; slat seat; shaped back with plain incised 
shield and shaped base-rails ending in claw feet. The arms are curved at 
their upper surfaces and are carved with sunken rosettes at the terminals. 


Height, 41 inches. 


1 Uffizi Gallery, Florence. Two of the four other pieces are in the Fitz-William Museum, 
Cambridge University, one in the Kaiser Friederich Museum, Berlin, and one in Rome. 

2 Illustrated in ‘‘Italian Furniture and Interiors”? and ‘“‘Furniture and Decorations of the 
Italian Renaissance.’”’ 

3 Illustrated in ‘‘Furniture and Decorations of the Italian Renaissance,” p. 20. 


33 


TH E CA RL] W... HOA M TIAt ON CO 17D Ee GGmn 


74. MADONNA AND CHILD, “LA MADONNA DELLA STELLA.” By 
FRA FILIPPO LIPPI (about 1406-1469). Florentine School. A_ Fif- 
teenth Century Tempera Painting on Wood. From the Monastery 

of the Carmine Brethren, Florence. 


The Virgin with head half turned and inclined towards the right is 
represented as a half-length figure in the act of tenderly caressing the 
Child, whom she supports with both arms, the left leg of the Child resting on 
her right arm, whilst the right leg drops comfortably behind. The Child 
is clothed in a winding drapery of purple hue, and grasps with the left 
hand the folds of the Virgin’s head-dress as it falls on her neck, and with 
the right hand He touches His chin, His head being turned towards the 
spectators and inclined slightly backward. 


The Virgin is clad in a dark green hooded mantle with wide gold 
trimmings, fastened with an open strap of embroidered gold across the 
breast, under which she wears a crimson garment pleated from the neck 
downwards. On the right shoulder of the mantle is an embroidered star, 
expressing her title, according to allusion—LA MADONNA DELLA 
STELLA. The head-dress, exposing a small quantity of fair hair, 1s of 
frilled muslin continued in a loose twist on the neck. The halos of the 
Mother and Child are of gold, each radiating with impressed lines from the 
center, and stippled with dot-pattern. The background is composed of a 
loosely hanging drapery of gold brocade, also stippled with dot-pattern. 


In this Madonna there is a certain simplicity and dignity, together 
with beautiful tenderness of feeling and motherly love. There is every 
probability that Lucrezia Buti, the young nun of the convent of Santa 
Margherita, served as a model for this picture, a theory which is all the 
more acceptable as true if a comparison of the features is made with those 
which Fra Filippo portrayed in the celebrated tondo now in the Pitti Palace 
at Florence. We have here the same high forehead, the samé expressive 
eyes, the full lips, the dilated nostrils, the slightly dimpled chin, which 
give the girlish face such a strangely fascinating interpretation. The type 
of the Virgin’s head, like most of those of Fra Filippo, is oval and modeled 
broadly in a low and flattened relief. The neck is, as usual, slender, whilst 
the Child is healthy, robust and short-necked, a peculiarity of extreme 
infancy. 

It cannot be denied that Filippo’s love for Lucrezia inspired some of 
his finest works. Besides the Pitti tondo the sad, sweet face of the young 
nun excites our compassion and admiration, as she gazes down upon us in 
all humility from the frescoes of the Duomo, and she may be traced through 
the whole series of panel pictures executed during the Prato period. The 
coloring, too, 1s always rich and harmonious, and Masaccio’s influence is 
evident in the modeling of the Virgin’s head and hands, and in the graceful 
lines of the drapery. 


Vasari tells us, “Truly marvelous was the grace with which he painted 
and very perfect the harmony that he gave to his works, for which he has 
been ever esteemed by craftsmen and honored by our modern masters with 
consummate praise; nay, so long as the voracity of time allows his many 
excellent labors to live, he will be held in veneration by every age.” 


On panel. Height, 325% inches; Width, 243% inches. 


Exhibited at Loan Exhibition at the galleries of Duveen Brothers, 1924. 


Filippo was the son of Tommaso Lippi, a butcher by trade, and was 
born in the Contrada dell’ Ardiglione in Florence, behind the Convent of 
the Carmine, about the year 1406. Soon after his birth his mother, Mona 
Antonia, died, preceding his father’s demise by two years, which left Filippo 
an orphan in the hands of an aunt, Mona Lapaccia, Tommaso’s sister. At 
the age of eight years, however, his aunt was unable to continue the 
duties of a mother owing to her poverty, and she entrusted the boy to the 
care of the friars of the neighboring convent. Seven years later, in 1421, when 


34 


ie iebee Cra RL Wie HA Mlb ON COLE ClO IN 
TS 


Filippo was about fifteen years of age, he was registered in the Carmelite 
community, having taken the vows of a friar; judging, however, from later 
events, more from necessity than inclination. From that time till 1432 he 
remained an inmate cf the monastery, devoting himself to his profession 
of painting, and coming under the potent influence of Masolino and Masaccio, 
whose beautiful frescoes in the Brancacci Chapel undeniably inspired the 
friar during the whole of his artistic life. Masaccio may be called the 
pioneer of naturalism in Italian painting, and his expression received its 
strongest impulse from the Florentine friar, who, eventually breaking 
his monastic vows at the age of twenty-six, and being stirred by all the 
passions of his time, boldly and successfully shattered the fetters of religious 
painting. By degrees and without any apparent effort, merely by a natural 
expansion of sympathy, the human type with all its variations was sub- 
stituted for the monotony of the traditional type divine. Madonnas became 
living virgins and real mothers, lovingly invested by the painter with the 
beauty of maidens whom he admired and of mothers such as he could 
understand. He was the first to represent in painting the Virgin as a real 
Florentine mother in all her youthful human beauty; the first also to render 
in a way that was true to nature the plump baby form of the Infant Jesus. In 
this respect Robert Browning has summed up the charm and feeling of Fra 
Filippo’s work in his well-known poem on the painter, where the monks 
criticize his work because of his venturing to paint nature as he sees it. 


The moment chosen by the friar for his return to the world could not 
have been more favorable. At the time when Florence was going through 
a glorious transition, he painted his great picture, THE CORONATION OF 
THE VIRGIN, which, according to Vasari, brought him to the notice of 
Cosimo de’ Medici, the ruler of Florence, with whom he found himself in 
high favour. At times the friar was given to idle and dissolute habits, 
which, it is said, sorely tried his patron, but on the whole Cosimo seems to 
have regarded his escapades with indulgence. 


Early in the year 1442, upon the recommendation of Cosimo de’ Medici 
the Pope appointed Filippo Lippi perpetual Abbot and Rector of San Quirico, 
at Legnaia, near Florence. A period of comparative prosperity now began, 
marred, however, in the year 1450, by a most unscrupulous act on his part 
in forging the signature to a receipt in favor of one of his assistants. This 
brought the friar to the rack, upon which he was tortured so unmercifully 
that he was finally driven to confess his crime, but it was not until five 
years later that he was relieved of his benefice. 

After this humiliating affair Fra Filippo left Florence and retired to 
Prato, where, nothing daunted, he was appointed chaplain to the nuns 
of the Convent of Santa Margherita early in the following year. It 
was in this convent that he was attracted by the singular grace and beauty 
of one of the young nuns, Lucrezia Buti, who sat to him for the portrait 
of the MADONNA OF THE GIRDLE’. From this time she was destined 
to play such an important role in his future career, and to figure so fre- 
quently in his Madonna pictures. On the occasion of a certain festival 
Filippo abducted Lucrezia, and carried her off to his own dwelling, for 
which he was deprived of his chaplaincy. Through the intercession of 
Cosimo de’ Medici, however, the Pope, Pius II, was prevailed upon to grant 
them a special brief of absolution from their monastic vows, and allowing 
them to marry. They were always devotedly attached to each other, and 
two children were born to them, one being Filippino Lippi, whose fame as 
a painter afterwards even rivalled that of his father. 

The last field of Fra Filippo’s labors was the town of Spoleto, where 
he was called upon to paint the choir of the Cathedral. Thither he went in 
1467, dying there two years afterwards, away from his family, at the age 
of sixty-three. 


75. SIXTEENTH CENTURY TUSCAN CARVED WALNUT COFFER. 


Rectangular shape. Sunken paneled and molded hinged lid; front divided 
by four pilasters, with molded capitals and bases and paneled fronts carved 
with rinceaux of foliage springing from fluted vases into three panels with 
guilloche and acanthus-leaf carved moldings; carving heightened with gilding; 
molded and carved paneled sides and molded base carved in a water-leaf 
patterning. 


76. SIXTEENTH CENTURY SIENESE WARE MAJOLICA PHARMACY 
JAR. 


Of ovoid shape, standing on a flat, round base and terminating in a short, 
narrow neck to which is applied, in front, a stay to strengthen a spout rising 
obliquely from the body of the vessel. A molded and curved handle is 


1 Prato Gallery. 


35 


Saran oy 


x . 
F. » 
€ 


x 
sf 
L 

¥ 


f 


THE CARL W. HAM LETON {CODD E Caro 


applied at the back. The decoration consists of a blue and white ornamen- 
tation on a yellow ground, and is composed of a circular reserve bearing the 
inscription CONSERV. VIOLAR. (Preserve of Violets), above being two 
hinds vis-a-vis, separated by acanthus leaves, and a winged cherub below. 
Surrounding this is a widening circle enclosing a leaf and tendril motif, and 
around the whole is a wreath of laurel leaves with fruit and flowers in brown, 
yellow and black. 


Height, 13 inches. 


FROM. THE COLLECTION OF MR. THOMAS 3) iy 
SEX, ENGLAND. 


76a. SIXTEENTH CENTURY ITALIAN “DANTE” CHAIR. 


Curved arms, supports and legs, with turned rosettes at the intersection 
and scrolled arms; seat and back in old red velvet with red silk fringe and 
velvet-covered cushion. 


77. A VENETIAN NOBLEMAN presumed to be THE DOGE ANDREA 
GRITTI. Attributed to VECELLIO TIZIANO, called TITIAN (1480- 
1576). Venetian School. An Italian Work of Art Gfethne on vt 
Century. 


A half-length portrait, representing the sitter under fifty years of age, 
wearing the costume of Provveditore, or Governor of the Venetian Republic, 
a red heavily embroidered cloak with an edging of ermine and a black sash 
on the left shoulder. The head leans somewhat towards the right. The face 
is beardless and the hair is long. The identity of this portrait, as being that 
of Andrea Gritti before he became Doge of Venice, may be established by 
the fact that in a number of his pictures Titian painted portraits of his con- 
temporaries and friends as spectators in the scenes. Among them we find 
types strongly reminiscent, if not actual replicas, of celebrated portraits that 
he painted. For instance, in the MIRACLE fresco! we recognize the por- 
trait of Dr..Parma, as well as in the ST. JOHN in THE EN FOMEMENT2 
THE MAN WITH THE GLOVE? and THE MAN IN BLACK.? In the 
CHRIST AND THE TRIBUTE MONEY? we recognize the portrait of 
ANDREA GRITTI, whom, some years later, Titian painted as a St. Andrew. 


Vasari states that—‘‘In the year when Andrea Gritti was elected Doge, 
Tiziano painted his portrait in a picture with Our Lady, St. Mark and St. 
Andrew, wherein St. Andrew is represented with the countenance of that 
Doge, which is a very rare thing. This picture, a most marvelous work, is 
in the Scala del Collegio.” This is not surprising, as Andrea Gritti was a 
personal friend of Titian, as Vasari again records in writing of the picture 
of ST. PETER MARTYR—‘This work being seen by Gritti, who was . 
always very much the friend of Titian.’ As soon as he was elected Doge, 
on the 20th of May, 1523, Gritti gave him the commission to decorate a 
church in the Ducal Palace. 

Judging from the style of the head of our picture, a beardless face with 
long hair, this portrait must have been painted in the first years of the six- 
teenth century, in 1501, in fact, according to an old inscription, which makes 
it the earliest known portrait by Titian. In 1501 Andrea Gritti was forty- 
seven years old, and held the office of Provveditore della Republica. In this 
portrait he is shown wearing the costume of that office, and the very fine and 
unusual shade of red, and the manner of painting the embroidered surface 
of the mantle of Pesaro in THE CASA PESARO MADONNA‘? are identi- 
cal in technique and color with the red gown in the portrait here concerned. 
The face still has the final glaze which, in too many cases, has been removed. 


On canvas. Height, 32 inches; Width, 2534 inches. 
i} Padua: 
2 Louvre. 


3 Dresden. 
4 Church of the Frari, Venice. 


36 


Periph Ceoch elma VV se Hc ASM Lie ON = CO) lL) Ink Gil O:N 


; Vecellio Tiziano, commonly called Titian, was born at Capo del Cadore, 
in 1489; died at Venice, 27th August, 1576; studied under Zuccato and the 
Bellini; painted historical, mythological subjects, and landscapes. 


This celebrated painter was a member of the family named Guccello 
or Vecellio, established in the valley of Cadore, a portion of the Tyrol, 
which then belonged to the Venetian Republica. The family had already 
produced _more than one person locally distinguished, among others, S. 
Tiziano, Bishop of Oderzo. Titian was the son of Gregorio di Conte Vecellio, 
and was born in one of the most beautiful valleys of the Tyrolese Alps. 
Little is known of his life as a child, yet there is a tradition that he showed 
extraordinary precocity and a taste for drawing, which caused his father 
to place him, when he was about ten years old, under Sebastiano Zuccato, of 
Treviso, to learn the painter’s art. Titian left him to study under Gentile 
and Giovanni Bellini, the last being his principal instructor. Giorgione 
(Gorgio Barbarelli of Castel Franco), who probably was born in the same 
year as Titian, was his fellow-pupil in the school of Giovanni Bellini. It is 
necessary to bear the above facts in mind, because of the rivalry which 
afterwards arose between these two pupils of the Bellini. It has been 
justly observed that it was the natural qualities of the vigorous race of 
men to which he belonged, combined with the effect produced upon his 
mind by the state and splendor of Venice, and the life of her citizens, 
that molded Titian into the great artist which he became, and enabled 
him to invest the scenes he represented in his pictures, and the actors in 
them, with a grandeur or dignity befitting them. Although so nearly of 
the same age, the development of the genius of Titian appears to have been 
slower than that of Giorgione, as the first authentic record of his employ- 
ment on any work of great importance is that of his having painted part 
of the decorations on the exterior of the Fondaco dei Tedeschi, the German 
merchants’ exchange and warehouses, apparently as an assistant to Giorgione, 
to whom, as a painter of generally acknowledged ability, had been entrusted 
the execution of such an extensive work. This was in 1507. 


Titian had, nevertheless, after leaving the School of the Bellini, painted 
pictures for churches and portraits which partook more or less of the style 
of the Bellini. Among the latter was that of Catherine, Queen of Cyprus, 
who bequeathed that kingdom to the Venetian Republic. William Woodburn 
saw also, about fifty years ago, in the collection of General Boutelin at 
S. Petersburg, a whole-length portrait of the DOGE GRIMANI by Titian, 
dated 1494. 

The death of Giorgione in 1511 left Titian without a rival in that style 
of painting which they had adopted, and it was only natural that to him 
should be entrusted the completion of what Giorgione had left unfinished. 
Although Giovanni Bellini did not die until the 6th of December, 1516, it 
also naturally followed that in 1513 Titian should have assigned to him the 
works which Bellini was unable to paint, owing to his age, as well as, 
six days after Bellini’s death, the annuity of a hundred ducats which Bellini 
had received from the Senseria of the above Fondaco, the holder of which 
was bound to paint for eight crowns the portrait of any Doge elected in 
his time. The date of the portrait at S. Petersburg, however, shows that 
as Grimani only succeeded Loredano,! in 1521, Titian must have painted the 
portrait of Grimani seven years before he became Doge. Titian had already 
shown how capable he was of succeeding the above great painters by the 
frescoes with which he decorated the Scuola del Santo2 and his magnificent 
ASSUMPTION OF THE VIRGIN, painted in oil in 1516 for the great altar 
of the Church of S. Maria de’ Fraro.2 That he also painted portraits in 
pastels is proved by a letter written by Paulus Jovius to Pietro Aretino 
in 1546. 

From about 1515 Titian became the chief painter in Venice, and it is 
not possible, without greatly extending this notice, to do more than give 
the dates of the principal events in his life, and particulars of a_ few of 
his more famous pictures. In 1516 he was invited by Alfonso, Duke of 
Ferrera, to his court, and painted, among other pictures, for him, the 
BACCHUS AND ARIADNE# and a portrait of the poet, Ariosto, who men- 
tions Titian in the “Orlando Furioso.’’ In 1528 he produced his masterpiece, 
the picture of S. PETER MARTYR, for the chapel’ of that saint, in the 
Church of the SS. Giovanni e Paolo, which perished when that church was 
burned in August, 1867. There remain, however, old copies of it, and 
some studies Titian made for it. Charles V, having come to Bologna in 
1530 to receive the Imperial Crown from the hands of, Pope Clement VII, 
Titian was, on the recommendation of his intimate friend, Pietro Aretino, 
summoned to that city to paint a portrait of the Emperor, and was again 
called by him in 1532. Among other rewards, Titian received the diploma, 
signed by Charles at Barcelona, May 10th, 1533, by which he was created 
a Count Palatine of the Empire, and a Knight of the Order ope oy leewexey, LEE 


1A portrait of Loredano by Bellini is in the National Gallery. 
2 Padua. 

3 Academy at Venice. 

4 National Gallery. 


a7, 


THE (CARL OW. BAM LE TON] GOW EiGiaioen 


may be useful to state here that the balance of evidence is against Titian’s 
ever having been in Spain, although Cean Bermudez assumes that he went 
with the Emperor to Barcelona. Before he returned to Venice, Titian accom- 
panied Fedorigo Gonzaga to Mantua, and visited Asti. He next resumed 
his work at the Doge’s Palace in Venice. At that time Titian had there for 
rivals such formidable artists as Sebastiano del Piombo, Pordenone, Paris 
Bordone, Tintoretto, and Paolo Veronese; yet he maintained his superiority 
to all of them for the remainder of his life. 

In 1543 Titian was called by Pope Paul to Ferrara to paint his portrait. 
Paul also invited him to Rome, but it was not until 1545 that Titian could 
profit by the invitation. Titian was received with much honor in Rome, 
and during his stay in that city. Michelangelo paid him_a visit. He 
returned to Venice, where he arrived in 1546, by way of Florence. The 
Emperor again requested his attendance when at Vienna in 1548. Titian ar- 
rived there early in that year, remained in that city until June, and returned 
to it in October, 1550. He was also with the Emperor at Innsbruck, about 
September, 1555, during one of the sessions of the Council of Trent. After 
the abdication of Charles, his son, Philip II, was as strong a supporter of 
Titian as Charles. He admired and acquired a good many of the artist’s 
pictures. Philip IV also bought several, in England, at the sale of Charles 
I’s pictures, and, even now, there are still above forty pictures or portraits 
by Titian in the Museo at Madrid, to which must be added many formerly 
there but now in Vienna. During the remainder of his life, with the 
exception of a short journey into the Friuli in 1557, and one to Cadore in 
1565, Titian remained in Venice. The most active portion of his life 
as an artist appears to have been between 1550 and 1565, and the number 
of pictures he painted between those years was very large. He moreover, 
worked up to the conclusion of his long life, as when Henry III of France 
was in Venice in 1574, and paid him a visit at his home, he found the aged 
painter still busy at his easel. He however, never finished the picture 
upon which he was then engaged; it was completed after Titian’s death. 
The subject is THE ENT OMBMENT. 4 

Titian died of the plague at the great age of ninety-nine. He had 
three children by his wife, Cecilia, who died in 1530—Pomponio, Orazio, 
and Lavinia. The eldest was a priest, and survived him; Orazio died of 
the plague which killed his father; and Lavinia, who was married, in 
1547, to Cornelio Scarnelli, died in childbirth at the age of 30. Marco di 
Tiziano was his nephew. 

That Titian’s method of painting varied very much is certain, from the 
contradictory accounts that are given of it, and it is no less certain that 
he bestowed extraordinary care on the sketches and the preparations for 
his pictures. When Hecquin transferred from panel to canvas the 
PETER MARTYR, which Mission, who saw it in Italy in 1695, says was 
already then much obscured, he found that many alterations had been made 
in the original design, which appeared to have been done with a pen on 
the white ground with which the panel was covered. There is also a pen- 
drawing in the British Museum which differs from the finished picture, and 
the writer of this notice had one in red chalk which differed from both. 

It would be useless to dwell here upon the beauties of Titian’s pictures. 
They have excited more general admiration in every country in Europe 
than that produced by the works of any other master. His landscapes also 
are very fine and often have quite a modern look, owing to the dresses 
ard occupations of the country people, introduced into them, which are so 
much more appropriate in Italian landscapes than the mock classical figures 
used indiscriminately by many painters. 

The degree of skill which Titian reached as a colorist has been generally 
admitted; and his drawing, like that of Rubens, is always elegant and well 
suited to his subject. When they drew for engravers, they both proved 
that they were not so ignorant or careless in that respect as the followers of 
Michelangelo, whose pictures have little to recommend them, asserted. 

Many Italians were at some time pupils of Titian, and among the Flem- 
ings were Calcar, Barent, and Lambert Zustris, who made copies of his 
works and imitated his manner very closely. 

In the lists of the prices paid at auctions, in London and Paris, for 
pictures attributed to Titian since 1761, they vary from £7.7s for a portrait 
of verdezotti at Biondi’s sale in 1776, to £2,520 paid at a sale in 1892, for 
A MOTHER AND CHILD. Others produced £200 and upwards. 


78. SIXTEENTH CENTURY UMBRIAN WALNUT TABLE.’ 


Octagonal shape; heavy plain top on tripod pedestal, the sides decorated 
with scrolled acanthus leaf and voluted carvings, the tripod shaped as three 
eagles’ legs with voluted knees; feather-carved legs and lions’ paw feet. 


Height, 2 feet 9 inches; Diameter, 4 feet 8 inches, 


1 Academy of Venice. f : 
2 Illustrated in ‘Italian Furniture and Interiors’? by George Leland Hunter, plate 69d. 


38 


eis Genesee VV 0 HAS Mel Let OIN = GOW ECt LON 


79. SEVENTEENTH CENTURY FLORENTINE PAPER HOLDER. 


Rectangular shape; of red silk; divided into three portions, the center 
one of which has a projecting lappet and five horizontal bands to receive 
papers; embroidered in gold and silver with panels of scrolls, flowers and 
leaves, and with borders of voluted scroll patterning. 


Length, 2 feet 2 inches; Width, 1 foot 10 inches. 
80. SIXTEENTH CENTURY PESARO WARE MAJOLICA TABERNACLE. 


Of cylindrical shape, with dome top, surmounted by a pine cone held in 
place by a bronze cartouche. The dome is painted with six infant angels, 
who surround the surface with joined hands, and placed alternately back and 
front, representing the glory of the firmament, with puffy clouds, stars and 
a blue sky. The body is painted with two representations of Moses and 
the Children of Israel, divided by a small brass door (of later workmanship) 
within an architectural frame, on which is cast in relievo the Baptism of 
Christ. On the left of the door is seen the figure of Jehovah in the clouds 
appearing to the congregation of the Children of Israel during the gathering 
of the manna in the wilderness; on the right of the door is represented the 
congregation before Moses on the sixth day, in the background being a camp 
with angels and kneeling figures. 


Height, 16 inches. 
FORMERLY IN THE COLLECTION OF J. PIERPONT MORGAN. 


81. SIXTEENTH CENTURY TUSCAN BEECHWOOD MONASTERY 
CHAIR.! 


Formed of seven curved ribbon standards, crossed by six, and pivoted 
at the intersection so as to fold; movable seat of thirteen slats, and shaped 
back-rail carved with a circular medallion in low relief, straight base-rails. 


Height, 36 inches. 


82. SIXTEENTH CENTURY FLORENTINE WALNUT “SAVONAROLA” 
CHAIR.? 


Having curved sides and legs formed of eight reverse-curved interlacing 
supports, pivoted so as to fold; slat seat; shaped back with plain incised 
shield and shaped base-rails ending in claw feet. The arms are curved at 
their upper surfaces and are carved with sunken rosettes at the terminals. 


Height, 41 inches. 


83. SIXTEENTH CENTURY FLORENTINE CARVED WALNUT “SAVO- 
NAROLA” CHAIR.?* 


With curved sides and legs of ten interlacing square supports pivoted 
so as to fold; straight arms carved with acanthus leaves and ending in carved 
rosetted knobs, to which are attached loose wooden grooved rings. The 
shaped back-rail is richly carved and molded with dolphin sides and a circular 
medallion with an oval coat-of-arms in the center. The front arm-supports 
and legs are carved with scrollings and profile masks, and the base-rails end 
in lions’ paws. 


Height, 41 inches. 


1 Illustrated in ‘‘Italian Furniture and Interiors’ by George Leland Hunter, plate 101; 
“History of Italian Furniture’ by William M. Odom, p. 36. 

2 Illustrated in ‘‘Furniture and Decorations of Italian Renaissance,’ p. 20. 

3 Illustrated in “Italian Furniture and Interiors’ and ‘‘Furniture and Decorations of 
Italian Renaissance.”’ 


oF 


THE CARL Wo BAM AGT ON CO sb Grrr 


84. FIFTEENTH CENTURY FLORENTINE WALNUT ‘“SGABELLO” 
STOOL (Two). 


Formed of seats, plinths, lyre-shaped support, and single stretcher rails; 
is devoid of carving and is surmounted by an octagonal seat with molded 
edge, below which is a simple box-shaped plinth with shaped apron. The 
supports are of plain lyre-shape united by a plain square stretcher. Is pierced 
with hand-holes for carrying. 


Height, 20% inches. 


85. FIFTEENTH CENTURY FLORENTINE WROUGHT-IRON LAVABO, 
or WASHSTAND.! 


A wrought-iron tripod stand with central shaft and curved brackets of 
iron rods supporting, on a bracket formed of three wrought-iron scrolled 
leaves, a copper basin repousse with the figures of the spies returning from 
Canaan with the grapes of Eshcol. From one of the tripod feet a spirally 
turned iron rod, ending at the top in a large ball, supports an iron disc with 
two candle sockets and a pricket, also a bracketed arm with a hanging copper 
fountain with a tri-lobed handle loosely joined and covered with large circular 
caps. At the junction of the bracket and standard is a winged gryphon in 
wrought iron, and in the triangular space beneath are two wrought-iron 
ribbon shields placed back to back with a cartouche beneath. 


Height, 535% inches; Width, 53% inches. 


86. FIFTEENTH CENTURY UMBRIAN LINEN TOWEL. 


Hand towel of white linen with a woven pattern in blue. 


87. SIXTEENTH CENTURY FLORENTINE BEECHWOOD “SAVONA- 
ROLA” CHAIR.? 


Having curved sides and bases, formed of seven interlacing square sup- 
ports, pivoted at their intersections so as to fold; square slatted seats, shaped 
back-rail with three circular perforations, and fronts carved with incised 
rosettes; straight arms with bell and molded end to which is attached a loose 
ring; straight base-rails with claw-like ends. 


Height, 36 inches. 


88. CANDLESTICKS, SPANISH, XVI CENTURY. 


Each consisting of a slender circular shaft expanding in the middle, 
carved with close spiral staves and supported by an incurved triangular 
molded and spreading base carved on each face with strap-work scrolls in 
low relief, surrounding a coat-of-arms in polychrome. Each sconce consists 
of a bowl resting on a volute capital, with gadroons radiating from the center 
on the lower surface, and a pierced metal gallery encircling the upper edge. 
In the upper center of each is a metal candle-holder of cylindrical shape. 


The coats-of-arms, at the moment unidentified, are respectively: 


1 A mallet and crossed staves, in white on a blue field. 
2 Alternate gold and red stripes, placed perpendicularly. 
3. Five fleurs-de-lys on a white field. 


1 Illustrated in ‘‘Furniture and Decoration of Italian Renaissance’? by Frieda Schott- 
muller, p. 25. 


_2 Illustrated in “Italian Furniture and Interiors’ and ‘‘Furniture and Decorations of 
Italian Renaissance.’’ 


40 


iat ee Cr lah eee V\tGeeetdoAy Mel TON C Olin EoC LP asO os 


89. SIXTEENTH CENTURY FLORENTINE WALNUT “SAVONAROLA” 
CHAIR.! 


Having curved sides and legs formed of square interlacing supports with 
slat seat, pivoted for the purpose of folding; has eight interlacing supports. 
curved arms terminating in rosettes, and shaped back with a simple incised 
shield in center and base-rails ending in perpendicular incisions. 


Height, 41 inches. 


90. FIFTEENTH CENTURY FLORENTINE WALNUT ‘“SGABELLO” 
CHAIR.? 


Of antique oar-blade shaped back, in the upper center of which is a scroll 
shield enclosing three heraldic mounds below a star; octagonal seat with a 
molded edge, below which is a simple box-shaped plinth with molded base; 
supported upon two antique oar-blade shaped legs placed back and front with 
a turned base-rail between, the ends protruding in button form. 


Height, 39 inches. 


91. FIFTEENTH CENTURY ITALIAN WROUGHT-IRON CAULDRON or 
BRAZIER.* 


An open-air cauldron, or brazier, of wrought iron in the form of a large 
circular basin with molded rim and two large swinging handles on a circular 
iron ring supported by an octagonal stand of eight columns of spiral rope 
design, ending, above the ring, in alternate pointed and mushroom finials, 
and below, in wrought lions’ paw feet. Three main carrying handles of 
looped and spiral rope pattern are suspended from the upper ring and placed 
alternately between the columns. 


Height, 1534 inches; Diameter, 23% inches. 


1 Illustrated in ‘“‘Italian Furniture and Interiors’ and ‘‘Furniture and Decorations of 
Italian Renaissance.”’ 

2 Tllustrated in “Italian Furniture and Interiors’ and ‘*‘Furniture and Decorations of 
Italian Renaissance.”’ 


3 Illustrated in “Italian Furniture and Interiors” by George Leland Hunter, plate 24. 


41 


ILLUSTRATIONS 


No. 


74. 


MADONNA AND CHILD By FRA FILIPPO LIPPI. 


No. 9. THE MADONNA AND CHILD, WITH AN ANGEL AND ST. JOHN 
By SANDRO BOTTICELLI. 


‘VOSHONVUA VITAG OUAId 4d NOIXIAIONAD AHL ‘9b ‘ON 


No. 40. MADONNA AND CHILD WITH TWO ANGELS By PERUGINO. 


No, 63. THE VIRGIN AND CHILD, A PLASTER PLAQUE, 
POLYCHROMED By DESIDERIO DA SETTIGNANO. 


No. 32. THE INFANT CHRIST AND ST. JOHN By BERNARDINO LUINI. 


No. 55. THE VIRGIN AND CHILD, A TERRA COTTA PLAQUE, 
POLYCHROMED By DOMENICO ROSELLI. 


o. 22. SAINT ROCH THE PILGRIM By FRANCIA. 


’ 


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Sty WK . Tonal pana, Sake eos ee . 


\ a + Von : A ; 5a \ ( A : ob r rej 
CEL Ga. Lok. ; (SX) WMA, (Qc ie: (125 | 


No. 29. BUST PORTRAIT OF ST. JOHN THE EVANGELIST. 


No. 38. THE HEAD OF CHRIST By IL CONTE FRANCESCO MELZI. 


‘ONVIZHNYA OOINAWO 4d Nvauol AHL LV DNIGOUSIG NHOL ‘LS ‘0Z ‘oN 


No. 13. THE MADONNA AND CHILD WITH ST. MARY MAGDALENE AND ST. JEROME 
By GIULIO FRANCIA. 


SIXTEENTH CENTURY CARVED TUSCAN WALNUT CREDENZA. 


18. 


No. 


SHIVHO .aLNVd, LOANIVM NVITIVLII AYNLINAD HINGYLXIS ‘“v9l pue § SON 


SIXTEENTH CENTURY UMBRIAN “SGABELLI” CHAIRS. 


Nos. 44 and 58. 


No. 12. SIXTEENTH CENTURY FLORENTINE WALNUT “SAVONAROLA” CHAIR. 


‘AINOSSVO NVINAWA LONIVM GHAXVO AYNLINAD HLNGAALXIS ‘Th ON 


“LONTVM CIVINI 4O Gad SIVA ANILNAXOTA ANNLINAD HLINAHYLAHIH ‘09 ¢cN 


“ANOSSVO LOANIVM CIV’INI ANILNAXYOTA AYNLNAD HLNAALXIS ‘€ ON 


4 


M GaANVO NVOSOL AMOQLNAD HINAALXIS ‘Ot ON 


‘MaGAA00 LAN TV 


No. 51. ANTIQUE CHINESE RUG. K’ANG H’SI PERIOD (1662-1722 A. D.» 


No. 11. SIXTEENTH CENTURY FAENZA WARE (CASA PIROTA) 
MAJOLICA JUG OR BROCCA. 


SIXTEENTH CENTURY SIENESE PAINTED ARMOIRE. 


33. 


Oo 


N 


a2TAVL LONTIVM NVIOSHAA AUNLNAD HLNAALXIS ‘€Z ON 


SHIVHO .VIOAVNOAVS,, LANTIVM AYNLNGAD HLINGALXIS ‘6€ pue LE ‘son 


MAIAOO LANIVM CIVINI GNV CHAAVO NVILANGA AUYNLNAD HLNAALAIA “Lb “ON 


No. 64. SIXTEENTH CENTURY FLORENTINE WALNUT CABINET DESK. 


‘MIVHOD «.NVATOUAL, LONTVM ‘AIVHO AYALSVNOW GCOOMHOdAAA 
NVINAZWN AUYNLNAD HINAALAIA ‘9T ON NVOSOL AXYNLNAD HLINGALXIS 18 ON 


‘No. 20. TWO SIXTEENTH CENTURY FAENZA PHARMACY JARS OR ALBARELLI. 


Zz. ne 


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